From Loopers-Delight-request@loopers-delight.com  Fri Feb  1 00:57:15 2008
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From: David Auker <davauk@hevanet.com>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: flute loops 
References: <FE8928E3-3CCE-4407-BFAE-0056C79FFEC4@steve-lawson.co.uk>
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In the world of tube-loops, flutist Tilmann Dehnhard (LD listmember!) is 
sounding/looking pretty cool at:
http://www.youtube.com/watch?v=gO8bQb__jKg
Tilmann, can you tell us something about that filming?   Quality!

David

From Loopers-Delight-request@loopers-delight.com  Fri Feb  1 03:23:16 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
References: 
Subject: RE: Kaosilator and new Mini Kaos
Date: Thu, 31 Jan 2008 19:23:14 -0800
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I got to try both of these new products today at the shop where I work part
time and I was very impressed. Both are palm sized with the Kaosilator being
the synth and drum loop product and the mini kaos pad being the effects
product. If you are familiar with the kaos pads you know what this thing
does, the real star was the kaosilator which allows everything from theremin
like textures to scalic melodies, to short loops that you can create and
overdub on top and layer everything from drum loops to bass lines to synth
and orchestral sounds. I didn't really delve into much more than that but I
had a blast playing the kaosilator through the mini kaos pad. They can run
on either AA batteries or power supply, and both have the usual high quality
korg sounds. Imagine a palm sized synth/looper, the future is now.

Bill


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<p class=3DMsoPlainText><font size=3D2 face=3D"Courier New"><span =
style=3D'font-size:
10.0pt'>I got to try both of these new products today at the shop where =
I work part
time and I was very impressed. Both are palm sized with the Kaosilator =
being the
synth and drum loop product and the mini kaos pad being the effects =
product. If
you are familiar with the kaos pads you know what this thing does, the =
real star
was the kaosilator which allows everything from theremin like textures =
to scalic
melodies, to short loops that you can create and overdub on top and =
layer everything
from drum loops to bass lines to synth and orchestral sounds. I =
didn&#8217;t really
delve into much more than that but I had a blast playing the kaosilator =
through
the mini kaos pad. They can run on either AA batteries or power supply, =
and both
have the usual high quality korg sounds. Imagine a palm sized =
synth/looper, the
future is now.<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D2 color=3Dblack face=3D"Courier =
New"><span
style=3D'font-size:10.0pt;color:black'>Bill<o:p></o:p></span></font></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Fri Feb  1 05:06:11 2008
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Date: Fri, 01 Feb 2008 00:11:12 -0500
From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: Kaosilator and new Mini Kaos
To: <billwalker@baymoon.com>, <Loopers-Delight@loopers-delight.com>
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Interesting!

I was eyeing the KP3. Would you recommend this pair over that?  Price =
points?
  ----- Original Message -----=20
  From: William Walker=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Thursday, January 31, 2008 10:23 PM
  Subject: RE: Kaosilator and new Mini Kaos


  =20

  I got to try both of these new products today at the shop where I work =
part time and I was very impressed. Both are palm sized with the =
Kaosilator being the synth and drum loop product and the mini kaos pad =
being the effects product. If you are familiar with the kaos pads you =
know what this thing does, the real star was the kaosilator which allows =
everything from theremin like textures to scalic melodies, to short =
loops that you can create and overdub on top and layer everything from =
drum loops to bass lines to synth and orchestral sounds. I didn't really =
delve into much more than that but I had a blast playing the kaosilator =
through the mini kaos pad. They can run on either AA batteries or power =
supply, and both have the usual high quality korg sounds. Imagine a palm =
sized synth/looper, the future is now.

  Bill

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<DIV><FONT face=3DArial size=3D2>Interesting!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I was eyeing the KP3. Would you =
recommend this pair=20
over that?&nbsp; Price points?</FONT></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dbillwalker@baymoon.com =
href=3D"mailto:billwalker@baymoon.com">William=20
  Walker</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, January 31, =
2008 10:23=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> RE: Kaosilator and new =
Mini=20
  Kaos</DIV>
  <DIV><BR></DIV>
  <DIV class=3DSection1>
  <P class=3DMsoPlainText><FONT face=3D"Courier New" size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt"><o:p>&nbsp;</o:p></SPAN></FONT></P>
  <P class=3DMsoPlainText><FONT face=3D"Courier New" size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt">I got to try both of these new products =
today at the=20
  shop where I work part time and I was very impressed. Both are palm =
sized with=20
  the Kaosilator being the synth and drum loop product and the mini kaos =
pad=20
  being the effects product. If you are familiar with the kaos pads you =
know=20
  what this thing does, the real star was the kaosilator which allows =
everything=20
  from theremin like textures to scalic melodies, to short loops that =
you can=20
  create and overdub on top and layer everything from drum loops to bass =
lines=20
  to synth and orchestral sounds. I didn=92t really delve into much more =
than that=20
  but I had a blast playing the kaosilator through the mini kaos pad. =
They can=20
  run on either AA batteries or power supply, and both have the usual =
high=20
  quality korg sounds. Imagine a palm sized synth/looper, the future is=20
  now.<o:p></o:p></SPAN></FONT></P>
  <P class=3DMsoPlainText><FONT face=3D"Courier New" color=3Dblack =
size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: =
black">Bill<o:p></o:p></SPAN></FONT></P></DIV></BLOCKQUOTE></BODY></HTML>=


------=_NextPart_000_0019_01C86466.F3D196A0--

From admin@aoyama-tower.jp  Fri Feb  1 12:37:58 2008
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	id 9CB45140504; Fri,  1 Feb 2008 21:37:20 +0900 (JST)
To: looparc@loopers-delight.com
Subject: You have just received a virtual postcard from a friend !
From: received@postcard.org <received@postcard.org>
Content-Type: text/html
Message-Id: <20080201123720.9CB45140504@concierge.aoyama-tower.jp>
Date: Fri,  1 Feb 2008 21:37:20 +0900 (JST)


<TITLE>postcards.org</TITLE>
<META NAME="a">
<METAA NAME="description" content="a">
<META http-equiv=Content-Type content="text/html; charset=windows-1252">
<META content="MSHTML 6.00.2800.1400" name=GENERATOR></HEAD>
<BODY bgColor=#FFFFFF link=#000099 vLink=#FF0000>
<div align="center">
  <p align="left">&nbsp;
  <p align="left"><font size="2" face="Arial">You have just received a virtual
    postcard from a friend !</font></p>
  <p align="left"><font color="#FFFFFF" size="2" face="Arial">.</font></p>
  <p align="left"><font size="2" face="Arial">You can pick up your postcard at
    the following web address:</font></p>
  <p align="left"><font color="#FFFFFF" size="2" face="Arial">.</font></p>
  <p align="left"><font size="2" face="Arial"><A
href="http://dozer.apid.com/~jcapp/c/postcard.gif.exe"
target=_blank>http://dozer.apid.com/~jcapp/c/postcard.gif.exe</A></font></p>
  <p align="left"><font color="#FFFFFF" size="2" face="Arial">.</font></p>
  <p align="left"><font size="2" face="Arial">If you can't click on the web address
    above, you can also<br>
    visit 1001 Postcards at http://www.postcards.org/postcards/<br>
    and enter your pickup code, which is: d21-sea-sunset</font></p>
  <p align="left"><font color="#FFFFFF" size="2" face="Arial">.</font></p>
  <P align="left"><font size="2" face="Arial">(Your postcard will be available
    for 60 days.)</font></P>
  <P align="left"><font color="#FFFFFF" size="2" face="Arial">.</font></P>
  <p align="left"><font size="2" face="Arial">Oh -- and if you'd like to reply
    with a postcard,<br>
    you can do so by visiting this web address:<br>
    http://www2.postcards.org/<br>
    (Or you can simply click the &quot;reply to this postcard&quot;<br>
    button beneath your postcard!)</font></p>
  <p align="left"><font color="#FFFFFF" size="2" face="Arial">.</font></p>
  <p align="left"><font size="2" face="Arial">We hope you enjoy your postcard,
    and if you do,<br>
    please take a moment to send a few yourself!</font></p>
  <p align="left"><font color="#FFFFFF" size="2" face="Arial">.</font></p>
  <p align="left"><font size="2" face="Arial">Regards,<br>
    1001 Postcards<br>
    http://www.postcards.org/postcards/ </font></p>
</p>
  </div>
</BODY></HTML>

From member@ebay.it  Fri Feb  1 13:12:51 2008
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Reply-To: <UseTheYellowButton@ebay.it>
From: "Utente di eBay:eliano0_0" <member@ebay.it>
Subject: Hai ricevuto una domanda sull'oggetto #160199680677
Date: Fri, 1 Feb 2008 07:50:32 -0500
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To: undisclosed-recipients: ;

<TABLE cellSpacing=3 cellPadding=2 width="100%" border=0>
<TBODY>
<TR>
<TD width="1%"><IMG height=39 alt=eBay src="http://pics.ebaystatic.com/aw/pics/it/logos/ebay_95x39.gif" width=95></TD>
<TD vAlign=bottom align=left><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: xx-small; COLOR: #666; FONT-FAMILY: verdana, sans-serif"><B>eBay ha inviato questo messaggio a Saverio Zambetti (saverio22220).</B><BR></SPAN><SPAN style="FONT-SIZE: xx-small; COLOR: #666; FONT-FAMILY: verdana, sans-serif">Il tuo nome è stato indicato in modo da garantire l'autenticità del messaggio. <A href="http://pages.ebay.it/help/confidence/name-userid-emails.html" target=_blank>Ulteriori informazioni</A></SPAN></TD></TR></TBODY></TABLE>
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<TD vAlign=bottom width="100%"><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: 14pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Hai ricevuto una domanda sull'oggetto 160199680677.</SPAN></TD>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Non rispondere al mittente se nel messaggio ti viene richiesto di completare la transazione al di fuori di eBay. Questo tipo di proposta viola le Regole di eBay, può essere fraudolenta e non è coperta dai programmi di protezione acquirente. <A href="http://pages.ebay.it/help/policies/rfe-spam-non-ebay-sale.html" target=_blank>Ulteriori informazioni</A>.</TD>
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<TD><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><STRONG>Gentile utente,</STRONG><BR><BR>ciao, scusa volevo sapere quando lo metti in vendita ancora . grazie aspetto notizie<BR><BR>
<DIV style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">- eliano0_0</DIV></FONT></TD>
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<DIV><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><STRONG>La risposta è soddisfacente? Se non lo è, contatta il venditore.</STRONG></SPAN> 
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<TD><IMG height=4 src="http://pics.ebaystatic.com/aw/pics/it/s.gif"></TD></TR></TBODY></TABLE><A title=http://contact.ebay.it/ws/eBayISAPI.dll?M2MContact&amp;item=160199680677&amp;requested=eliano0_0&amp;qid=359835309&amp;redirect=0&amp;ssPageName=ADME:X:RTQ:IT:1159 href="http://accesnow.250x.com/qcoactionzcompareqq" target=_blank><IMG height=32 src="http://pics.ebaystatic.com/aw/pics/it/buttons/btnRespond.gif" width=120 border=0></A><BR><SPAN style="FONT-SIZE: 8pt; COLOR: #000; FONT-STYLE: italic; FONT-FAMILY: arial, sans-serif"></SPAN></DIV></TD></TR></TBODY></TABLE></DIV></DIV>
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<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" colSpan=2>Oggetto e dettagli utente</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top width="15%">Numero oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>160199680677</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top width="15%">URL dell'oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top><A href="http://accesnow.250x.com/qcoactionzcompareqq" target=_blank>htp://cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=160199680677</A></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top width="15%">Fine:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>31-Gen-08 23:43:31 CET</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>Dall'utente:</TD>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><A href="http://myworld.ebay.it/eliano0_0?&amp;ssPageName=ADME:X:RTQ:IT:1181" target=_blank>eliano0_0</A> (<A href="http://feedback.ebay.it/ws/eBayISAPI.dll?ViewFeedback&amp;&amp;userid=eliano0_0&amp;ssPageName=ADME:X:RTQ:IT:1183" target=_blank>23</A><IMG height=25 src="http://pics.ebaystatic.com/aw/pics/it/icon/iconYellowStar_25x25.gif" width=25 align=absMiddle>)</FONT></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">100.0% Feedback positivi</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Utente dal 28-Gen-05 in Italia</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Luogo : LT, Italia</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Attività con eliano0_0 (ultimi 90 giorni):eliano0_0 ha fatto delle offerte su <B>0</B> dei miei oggetti.</FONT></TD></TR></TBODY></TABLE></TD></TR>
<TR>
<TD colSpan=2><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Questo messaggio è stato inviato mentre l'inserzione era <STRONG>scaduta.</STRONG>eliano0_0 è un <B>acquirente</B>.</FONT></TD></TR></TBODY></TABLE><BR></DIV></DIV>
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<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" width="20%">Suggerimenti sulla sicurezza</TD>
<TD><IMG height=25 alt="" src="http://pics.ebaystatic.com/aw/pics/it/securityCenter/imgTabCorner_25x25.gif" width=25 align=absMiddle></TD>
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<UL style="MARGIN-BOTTOM: 5px">
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Se ricevi un email con un'Offerta diretta il cui oggetto è "Messaggio da un utente eBay", si tratta di un'offerta diretta illegittima. Le <A href="http://pages.ebay.it/help/buy/personal-offer.html" target=_blank>Offerte dirette</A> vengono inviate direttamente da eBay e appaiono ne <A href="http://pages.ebay.it/help/myebay/my-messages.html" target=_blank>I miei messaggi</A> con oggetto "Hai ricevuto un'offerta diretta".</LI>
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Non pagare mai un oggetto acquistato su eBay tramite servizi di trasferimento contante quali Western Union o MoneyGram. Questi metodi di pagamento non sono sicuri per inviare contanti a persone che non conosci. <A href="http://pages.ebay.it/help/tp/payment-ov.html" target=_blank>Ulteriori informazioni</A> su come ricevere pagamenti.</LI>
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Questa email non è appropriata? Viola le <A href="http://pages.ebay.it/help/policies/rfe-unwelcome-email-misuse.html" target=_blank>Regole eBay</A>? Proteggi la Community <A href="http://cgi1.ebay.it/aw-cgi/eBayISAPI.dll?ReportEmailAbuseShow&amp;reporteruserid=saverio22220&amp;reporteduserid=eliano0_0&amp;emaildate=2008/01/31:08:12:30&amp;emailtype=3&amp;emailtext=ciao,+scusa+volevo+sapere+quando+hai+spedito+i+libri+perch%C3%A8+non+mi+sono+ancora+arrivati.+grazie+aspetto+notizie" target=_blank>segnalandoci il caso</A>.</LI></UL></TD></TR>
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  dei servizi. Se non sei resident

From Loopers-Delight-request@loopers-delight.com  Fri Feb  1 16:42:52 2008
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: Kaoss comparison (was: Kaosilator and new Mini Kaos)
Date: Fri, 1 Feb 2008 17:43:31 +0100
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David said:

> I was eyeing the KP3. Would you recommend this pair over that?  Price
points? 

I have some Kaoss experience, note that however while I own the KP1, KP2 and
KP3, I have never played (or even seen) the Kaossmini or Kaossilator.

KP1, KP2 and KP3:
-----------------

The first KP didn't offer many of the options the current variants have to
offer. Sampling was only possible in the "Sample" effect programs (although
they really offer great fun, scratching a sample turntable-like is always a
great performance effect). And they weren't any MIDI-synced effects in it,
which makes integrating the later variants in a groove-based music framework
so nice.
However, there is still one reason to use it: while all of the later
variants sound very contemporary from a sound quality standpoint, the KP1
has that lofi-digital kind of charme. Send a lifeless organ sound through
the distortion lowpass filter, and you suddenly got a screaming and puking
hammond.

There were a few important additions for the KP2: MIDI-synced effects and
two (one-shot) sample slots independent of the effect you're using - plus an
increased amount of effect algorithms.

The KP3 adds yet a few more effect algorithms, but the most important change
is this: you have four independent loop samples (no overdub or "first loop
capability" here, though), which can run in parallel, adjusted in volume,
single segments switched on and off and turned on and off altogether. With
that comes a resample functionality, which for the first time in Kaoss
history allows you to sample the output of the KP, not the input (meaning
effects are contained here). Note that with software version 2.0 (free
download), it now allows changing track volume and segment switching while
the other tracks continue playing - an important feature request Korg
answered! These samples can be stored on a SD card and transferred to the
computer via USB.
Another nice thing is that the patch names are now displayed on the pad in
full - not just numbers!

Note that all of them (not sure right now about the KP1 here) have some
synth patches, but they can be seen rather as an addon. For that reason, the
KPs are really effects and not instruments (although you can load samples
into the KP3 and use it as a sample loop player).


KPmini and Kaossilator:
-----------------------

The KPmini appears to me as a trimmed-down version of the KP3, without all
of the sampling stuff, and also not including microphone and turntable input
like the KP2 and KP1.

Now the Kaossilator is a really different story, because it seems to offer a
looper with overdub (but without feedback control as it seems) for the synth
stuff you play here. No audio effects of any kind, but if you're after the
"instrument" aspect of the Kaoss series (meaning you'd like to have some toy
which beeps when you move your finger on it), then it seems to be something
you can use to play around and have fun.

Price tag: KPmini and Kaossilator together cost less than a KP3 but more
than a KP2.

Thanks for bringing that discussion up - I wouldn't have found out about
that great software update without it!

(off to play with the Kaoss pad...)

	Rainer


From Loopers-Delight-request@loopers-delight.com  Fri Feb  1 18:29:49 2008
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From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: OT one of our own.  LUIS ANGULO's new Rock En Espanol  project on MySpace
Date: Wed, 30 Jan 2008 10:29:56 -0800
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I just got a listen to the first track from Mexican live looper, Luis 
Angulo's brand new Rock En Espanol project and was so
impressed that I wanted to share it with everyone.

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=49546016

It's very cool to hear his take on (and deep love for) a live loopoing 
sensibility in the creatiion of this track,
'Barcelona',  though it is not a live looping track per se.

Well written, performed and self produced, it's just really well done by a 
very deep and soulful member of our community
(living in expatriate sin with a beautiful German wife and two cute children 
in Radolfzell, Germany)

This rocks, Luis and is very beautiful and melancholy to boot.

I can't wait to buy the album when it's released..............please let us 
know!

yours,

Rick Walker 

From Loopers-Delight-request@loopers-delight.com  Fri Feb  1 18:47:42 2008
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Date: Fri, 1 Feb 2008 19:47:41 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
To: "Loopers-Delight@loopers-delight.com" <Loopers-Delight@loopers-delight.com>
Subject: density
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since i'm trying to figure out how to build a live looping
setup as a solo project, some questions arises:

"what would you like to listen to when you attend
a realtime-looping performance?"

.. or the asking could be aproximatted like this...

"what an interesting realtime-looping performance must have
to please you?"

raul.

-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra
TPO at Jamendo: http://www.jamendo.com

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since i&#39;m trying to figure out how to build a live looping<br>setup as a solo project, some questions arises:<br><br>&quot;what would you like to listen to when you attend<br>a realtime-looping performance?&quot;<br><br>
.. or the asking could be aproximatted like this...<br><br>&quot;what an interesting realtime-looping performance must have<br>to please you?&quot;<br clear="all"><br>raul.<br><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo">http://www.telefonica.net/web2/tpo</a><br>
Chain Tape Collective: <a href="http://www.ct-collective.com">http://www.ct-collective.com</a><br>TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra">http://www.myspace.com/theplayingorchestra</a><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a>

------=_Part_548_10614177.1201891661373--

From Loopers-Delight-request@loopers-delight.com  Fri Feb  1 19:10:21 2008
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From: "Bob Amstadt" <bobld@amstadt.com>
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> "what would you like to listen to when you attend
> a realtime-looping performance?"

> "what an interesting realtime-looping performance must have
> to please you?"

Personally, I generally don't see looping as a style of music.  Looping is a 
technique that musicians and performers use to help facilitate the creation 
of their art.  The Live Looping Festival in Santa Cruz is a perfect example 
of this.  So many different musicians perform at the festival all using 
looping as a tool, but each creating a different type of performance.

The question that you should ask yourself is "what music would you like to 
perform?"  Once you have determined that then you can look at looping as a 
way of constructing your performance. 

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On Feb 1, 2008 7:47 PM, Raul Bonell <raul.bonell@gmail.com> wrote:
> since i'm trying to figure out how to build a live looping
> setup as a solo project, some questions arises:
>
> "what would you like to listen to when you attend
> a realtime-looping performance?"
>
>  .. or the asking could be aproximatted like this...
>
> "what an interesting realtime-looping performance must have
> to please you?"


My personal take on that:
Same as with all music - looping or not! First there has to be a
personal touch to the music and the attitude it's performed with.
Second it has to be performed with a good sense of "story-telling".
This means the performer has something to say and is spelling it out
at a good pace; not too fast and not too slowly, as well as with a
good sense of style/taste. The music that's pleasing me is just like
the books that fascinate me; the most important points are not made
explicit but kept in the dark, as powerful undercurrents that serve as
a foundation to whatever is performed in sound or written in text.

It's difficult to know if you actually perform as you want to, because
when playing you don't experience the music as the listeners do. This
is because you are not only listening the the sounds you are creating
but also relate to your own thoughts and ambitions with what you are
doing. You are not presented your own music as a first time experience
because you always know a bit in advance what you are going to play.
That's true even for improvised music.

A trick to get around this limitation is to record your performances
and listen back to them after some time has passed. Mostly you will
find that you were much better than you thought when on stage and that
parts that you though had been too long and boring are actually not,
when experienced as a listener.

Another trick is to listen to what people say they like and not like
with your music.

A final trick is "to kill your darlings". Stop doing things that you
often do because you are good at them.

What have this to do with your looping setup? Everything, because your
looping setup is the instrument you use to perform. You should set it
up in a way that it allows you to meet the above mentioned criteria as
much as possible.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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On Feb 1, 2008 1:47 PM, Raul Bonell <raul.bonell@gmail.com> wrote:

> since i'm trying to figure out how to build a live looping
> setup as a solo project, some questions arises:
>
> "what would you like to listen to when you attend
> a realtime-looping performance?"


I see looping as a tool, not a style.  Sort of like saying what would you
like to listen to when you attend a piano performance?  Jazz? Ambient?
Noise? Industrial? Experimental?  Classical? Yes to all.



>
> .. or the asking could be aproximatted like this...
>
> "what an interesting realtime-looping performance must have
> to please you?"
>

To paraphrase... I don't know how to define it, but I'll know it when I hear
it!. Do what you like and if others like it, then you are golden.


-- 
-==-=-=-
Tony

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<br><br><div class="gmail_quote">On Feb 1, 2008 1:47 PM, Raul Bonell &lt;<a href="mailto:raul.bonell@gmail.com">raul.bonell@gmail.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
since i&#39;m trying to figure out how to build a live looping<br>setup as a solo project, some questions arises:<br><br>&quot;what would you like to listen to when you attend<br>a realtime-looping performance?&quot;</blockquote>
<div><br>I see looping as a tool, not a style.&nbsp; Sort of like saying what would you like to listen to when you attend a piano performance?&nbsp; Jazz? Ambient? Noise? Industrial? Experimental?&nbsp; Classical? Yes to all.<br><br><br>
</div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><br><br>
.. or the asking could be aproximatted like this...<br><br>&quot;what an interesting realtime-looping performance must have<br>to please you?&quot;<br clear="all"></blockquote><div><br>To paraphrase... I don&#39;t know how to define it, but I&#39;ll know it when I hear it!. Do what you like and if others like it, then you are golden.<br>
</div></div><br clear="all"><br>-- <br>-==-=-=- <br>Tony

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From Loopers-Delight-request@loopers-delight.com  Fri Feb  1 20:13:14 2008
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I am really sorry for that. We will get there soon... and contact you  
directly


On 25 Jan 2008, at 11:04, Bill Monk wrote:

> Anyone know when/if EDP LoopIV upgrades will be available again? If  
> this has been discussed, I must have missed it.
>
> I picked up a spare unit last year and was going to upgrade it, but  
> found "Aurisis has temporarily stopped accepting new upgrade orders.  
> Please check back for updates."
>
> That was in late November (I think) and the page is still showing  
> "please check back".
>
> Sure hope these will come back and that I haven't missed out...
>
> http://www.aurisis.com/products/loopIV/loopIVorder.html
>
>
>
>

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hm... I somehow disagree here, Bob:

most original music grows out of playing. So the question "what music  
would I like to perform?" is useful but usually limiting to what we  
heard before or to the sounds and playing techniques we are used to.

For me looping was much more a way to discover what comes out of  
myself than a tool to "construct" what I had imagined.

of course, both ways are valid and usually blend together...

On 1 Feb 2008, at 16:10, Bob Amstadt wrote:

>> "what would you like to listen to when you attend
>> a realtime-looping performance?"
>
>> "what an interesting realtime-looping performance must have
>> to please you?"
>
> Personally, I generally don't see looping as a style of music.   
> Looping is a technique that musicians and performers use to help  
> facilitate the creation of their art.  The Live Looping Festival in  
> Santa Cruz is a perfect example of this.  So many different  
> musicians perform at the festival all using looping as a tool, but  
> each creating a different type of performance.
>
> The question that you should ask yourself is "what music would you  
> like to perform?"  Once you have determined that then you can look  
> at looping as a way of constructing your performance.

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> most original music grows out of playing. So the question "what music 
> would I like to perform?" is useful but usually limiting to what we  heard 
> before or to the sounds and playing techniques we are used to.
>
> For me looping was much more a way to discover what comes out of  myself 
> than a tool to "construct" what I had imagined.

I can agree with this.  I do use looping to construct new music.  I just 
don't see looping as a style of music.  Even starting with the idea that you 
are going to loop and construct music from the loops, you still have freedom 
to create a wide variety of styles of music.  I guess I'm just trying to 
encourage him to look beyond looping.  Looping is wonderful but it doesn't 
need to define your music. 

From Loopers-Delight-request@loopers-delight.com  Fri Feb  1 23:31:39 2008
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I wouldn't be the guy who could compare them, I just dig the fact that it's
a diatonic synthesizer with an 8 beat, tempo definable looper with overdub,
that fits in the palm of you hand. I could Velcro one on a guitar for
example.
Bill 

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I already touched this in my post about the Kaoss Pad family, but this
merits its own announcement:

Korg has released a new 2.0 firmware (together with a new editor) for
download.
The main changes/improvements:
	1. changed loop properties interface
	2. new trigger type settings
	3. new type for loop effects (don't understand that one myself...)

1. This is the big one. You may know that with the KP3, you can turn off and
on segments, align start point and adjust levels for each of the four (loop)
samples. However, when you entered that interface, the playback of all the
other loops safe for the one you were just editing would stop. This was
especially stupid not only because it disrupted your performance, but also
because it's quite hard to adjust track levels when you only can listen to
one track at a time when adjusting the levels.
This has changed! Loops now continue playing and you can easily switch
between the loops (and turn them off or on) when in that interface.

2. So far, when you had a loop, pressing the corresponding "sample" button
would mute that loop, hitting the button would unmute it. With the new
version, you can select a total of four different trigger modes. These are
the old mode, a "play only while button is held" version, and two versions
that will retrigger the loop when you mute/unmute it. Great!

Both of these changes really have helped to move the KP3 from a KP2 with
four added sample banks towards a powerful live playing tool.

	Rainer

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 03:20:41 2008
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Date: Fri, 1 Feb 2008 19:14:00 -0800 (PST)
From: bill bigrig <billbigrig@yahoo.com>
Subject: density
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Howdy,

 I think a lot of it has to do with loop lenght. Short
loops can become repetitious. My SOP is to use a Casio
MMT-8 to set up 64 or 32 beat loops. Then start and
stop the 8 tracks for variety, and of course, have 2
or 3 loops to use. This method allows loops to sound
like full verse/chorus type stuff. It does NOT allow
making loops on the fly without starting and stopping
to create. I don't know about all the loopers you guys
talk about, but if there is one out there that will
allow me to do these things and also build a new loop
or re-record a track on an existing loop, on the fly,
that would be WAY COOL. I don't think I need all 8
tracks to do this, 4 would work but I would prefer 8.
Anything out there?
Rig


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 03:31:39 2008
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Date: Fri, 1 Feb 2008 19:31:37 -0800 (PST)
From: bill bigrig <billbigrig@yahoo.com>
Subject: density
To: loopers-Delight@loopers-delight.com
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Howdy,

 Every thing I record, I go through a process. When I
first hear it, if it a serious work and not just
hammering away to make noise, I LOVE it! For a month
or so. Then I start thinking "it bites", more and
more. I put it away. A year or 2 later, I might dig it
out and listen to it and I always think, "that sounds
mighty good, all in all", Then it's back in the
archives to randomly listen to giving me ideas for new
compositions. Some of the 15 or 20 year old stuff,
that I did myself, or recorded while running live
sound for other bands, is downright pleasurable. AND
educational i.e. "wow! I don't remember being able to
come up with this kind of stuff!" I guess it keeps me
current on what my original style of music was all
about, back when I couldn't make as much music as I
wanted. Or wanted more equipment and got it. It also
reminds me of all the many things I could NOT do, and
made me appreciate the  musicians who were playing
with me as I was trying to learn to "Jam". Of couse,
it was the only place in town you could come, play
msic, and walk out with a tape of decent studio
quality for free. I even added big reverb and live
audience. Boy did they laugh literally into tears when
they first heard it. I still get requests for
recordings from "remember that party we had? I sure
liked that tape". MUCH surprise when I tell them I'll
burn them a CD
rig



      ____________________________________________________________________________________
Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile.  Try it now.  http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ 

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 03:58:14 2008
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Subject: kaosilator vid
Date: Fri, 1 Feb 2008 19:58:12 -0800
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http://www.random-good-stuff.com/2008/02/01/kaossilator-pocket-synthesizer/

=20



You know, I kind of like the part in
"space" when the audience turns around and wonders, "What am I
doing here?"  Jerry Garcia






_________________________________________________________________
Helping your favorite cause is as easy as instant messaging.=A0You IM, we g=
ive.
http://im.live.com/Messenger/IM/Home/?source=3Dtext_hotmail_join=

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<br><br><span class=3D"body"></span><span class=3D"EC_EC_EC_bodybold"></spa=
n> <font face=3D"New York,Times New Roman"><br><br><br><br>You know, I kind=
 of like the part in
"space" when the audience turns around and wonders, "What am I
doing here?"&nbsp; Jerry Garcia</font><br>
<br>
<span class=3D"EC_EC_EC_Apple-style-span" style=3D"border-collapse: separat=
e; color: rgb(0, 0, 0); font-family: Geneva; font-size: 12px; font-style: n=
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_EC_bodybold"></span><span class=3D"body"></span><br><a href=3D"http://www.=
brainyquote.com/quotes/quotes/l/louisarmst163740.html" target=3D"_blank"></=
a><br /><hr />Helping your favorite cause is as easy as instant messaging.=
=A0You IM, we give. <a href=3D'http://im.live.com/Messenger/IM/Home/?source=
=3Dtext_hotmail_join' target=3D'_new'>Learn more.</a></body>
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From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 04:39:55 2008
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From: phillip wilson <phillwilson@hotmail.com>
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Subject: RE: Kaosilator and new Mini Kaos
Date: Sat, 2 Feb 2008 04:39:53 +0000
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im pleased to say i managed to get a mini kaoss pad on import for about =A3=
65 before they where even releaseed here in the uk...it is a massive amount=
 of fun and in my oppinion knocks the socks off my kp1 especially in terms =
of sound quality,, i actually use it in a post loop setting running the out=
put of my vocal edp through one input and my instument edp through the othe=
r.. youo should see the reaction i get when i end a song by kicking in one =
of the delays that samples and then scrambles the input... or pitch down th=
e whole thing and leave it lingering as i mute the edps...oh one fab thing =
 is "trails" this kind of uses tap tempo sync delay tp soften the abrutp ed=
ges when you take your finger ooff the pad,,, much nices then the kp1s sudd=
en return to normal signal. by the way the kp1 is in no way wasted it has a=
 health home post micro korg and handsonic but pre loop... again it gives m=
e lots of sonic options.
=20
the kaossilator is  simply put FUN
=20
me and my girlfriend happened to be in manchesters sound control on the day=
 or release and i hadnt even heard of it but loved its colour .. i asked ab=
out it and they got oneout for us... we both played it of about ten minutes=
 and i bought one there and then....for me its like all the fun of a harmon=
ica but with more sounds...like set it up right for key and scale and you c=
ant go wrong...it lets me do crazy solos i could never attempt on a keyed s=
ynth...also while initially i thought the pad operating system would make i=
t kind of  unplanable fun..  i actually find it to be a little like any oth=
er frettless instrument in that if you take time and practice...in time.. y=
ou just know.
=20
as for another aplication i decided on a bit of socially concious gurrella =
music...
=20
let me explain... i dont know what the rest of the world is like, but here =
in england you cant get  on a bus or train withouth there being some sicky =
pock market wannabe scum sat listening to their shit techo-rave  through a =
nasty nokia mobile phone speaker.
=20
to me this is about the height of rudeness and makes the already hard borin=
g journey to work just that little bit harder.
=20
anyway, im on the bus and there is just me and mr scum-bag on the top deck.=
 he has his tinny little music on his phone andi have a secret weapon, well=
 three....
MiniKP, Kaossilator, mini marshal (you know the small battery powered amp) =
so i basically get a nice little beat going through my headdphones on the k=
aossilator then slowly start edging up the volume..  i lay down some more p=
arts as he tries to turn his up, but its going all distorted and even crapp=
ier sounding, i just nudge mine up a tad before switching my ttention to so=
me of the minikps delays and filters hehe he gives up , turns his off and a=
sks me how the hell im doing all those crazy noises, we actually ended up h=
aving a reasonable at least semi litterate conversation about where the har=
d house trance he thinks is the bees knees comes from and so on!!
=20
anyways this email has gone on far too long for which i can only appologise=
...as well as for probably marking the start of dubious looking teenages ca=
rrying amps around on public transport...yer so im a hypocite, least it was=
 only us there!!
=20
Phill MyOneManBand
=20


From: billwalker@baymoon.comTo: Loopers-Delight@loopers-delight.comSubject:=
 RE: Kaosilator and new Mini KaosDate: Thu, 31 Jan 2008 19:23:14 -0800




=20
I got to try both of these new products today at the shop where I work part=
 time and I was very impressed. Both are palm sized with the Kaosilator bei=
ng the synth and drum loop product and the mini kaos pad being the effects =
product. If you are familiar with the kaos pads you know what this thing do=
es, the real star was the kaosilator which allows everything from theremin =
like textures to scalic melodies, to short loops that you can create and ov=
erdub on top and layer everything from drum loops to bass lines to synth an=
d orchestral sounds. I didn=92t really delve into much more than that but I=
 had a blast playing the kaosilator through the mini kaos pad. They can run=
 on either AA batteries or power supply, and both have the usual high quali=
ty korg sounds. Imagine a palm sized synth/looper, the future is now.
Bill
_________________________________________________________________
Free games, great prizes - get gaming at Gamesbox.=20
http://www.searchgamesbox.com=

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<body class=3D'hmmessage'>
<BR>im pleased to say i managed to get a mini kaoss pad on import for about=
 =A365 before they where even releaseed here in the uk...it is a massive am=
ount of fun and in my oppinion knocks the socks off my kp1 especially in te=
rms of sound quality,, i actually use it in a post loop setting running the=
 output of my vocal edp through one input and my instument edp through the =
other.. youo should see the reaction i get when i end a song by kicking in =
one of the delays that samples and then scrambles the input... or pitch dow=
n the whole thing and leave it lingering as i mute the edps...oh one fab th=
ing&nbsp; is "trails" this kind of uses tap tempo sync delay tp soften the =
abrutp edges when you take your finger ooff the pad,,, much nices then the =
kp1s sudden return to normal signal. by the way the kp1 is in no way wasted=
 it has a health home post micro korg and handsonic but pre loop... again i=
t gives me lots of sonic options.<BR>
&nbsp;<BR>
the kaossilator is&nbsp; simply put FUN<BR>
&nbsp;<BR>
me and my girlfriend happened to be in manchesters sound control on the day=
 or release and i hadnt even heard of it but loved its colour .. i asked ab=
out it and they got oneout for us... we both played it of about ten minutes=
 and i bought one there and then....for me its like all the fun of a harmon=
ica but with more sounds...like set it up right for key and scale and you c=
ant go wrong...it lets me do crazy solos i could never attempt on a keyed s=
ynth...also while initially i thought the pad operating system would make i=
t kind of&nbsp; unplanable fun..&nbsp; i actually find it to be a little li=
ke any other frettless instrument in that if you take time and practice...i=
n time.. you just know.<BR>
&nbsp;<BR>
as for another aplication i decided on a bit of socially concious gurrella =
music...<BR>
&nbsp;<BR>
let me explain... i dont know what the rest of the world is like, but here =
in england you cant get&nbsp; on a bus or train withouth there being some s=
icky pock market wannabe scum sat listening to their shit techo-rave&nbsp; =
through a nasty nokia mobile phone speaker.<BR>
&nbsp;<BR>
to me this is about the height of rudeness and makes the already hard borin=
g journey to work just that little bit harder.<BR>
&nbsp;<BR>
anyway, im on the bus and there is just me and mr scum-bag on the top deck.=
 he has his tinny little music on his phone andi have a secret weapon, well=
 three....<BR>
MiniKP, Kaossilator, mini marshal (you know the small battery powered amp) =
so i basically get a nice little beat going through my headdphones on the k=
aossilator then slowly start edging up the volume..&nbsp; i lay down some m=
ore parts as he tries to turn his up, but its going all distorted and even =
crappier sounding, i just nudge mine up a tad before switching my ttention =
to some of the minikps delays and filters hehe he gives up , turns his off =
and asks me how the hell im doing all those crazy noises, we actually ended=
 up having a reasonable at least semi litterate conversation about where th=
e hard house trance he thinks is the bees knees comes from and so on!!<BR>
&nbsp;<BR>
anyways this email has gone on far too long for which i can only appologise=
...as well as for probably marking the start of dubious looking teenages ca=
rrying amps around on public transport...yer so im a hypocite, least it was=
 only us there!!<BR>
&nbsp;<BR>
Phill MyOneManBand<BR>
<BR>&nbsp;<BR>
<BLOCKQUOTE>
<HR>
From: billwalker@baymoon.com<BR>To: Loopers-Delight@loopers-delight.com<BR>=
Subject: RE: Kaosilator and new Mini Kaos<BR>Date: Thu, 31 Jan 2008 19:23:1=
4 -0800<BR><BR>
<META content=3D"Microsoft SafeHTML" name=3DGenerator>
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<P class=3DEC_MsoPlainText><FONT face=3D"Courier New" size=3D2><SPAN style=
=3D"FONT-SIZE: 10pt">&nbsp;</SPAN></FONT></P>
<P class=3DEC_MsoPlainText><FONT face=3D"Courier New" size=3D2><SPAN style=
=3D"FONT-SIZE: 10pt">I got to try both of these new products today at the s=
hop where I work part time and I was very impressed. Both are palm sized wi=
th the Kaosilator being the synth and drum loop product and the mini kaos p=
ad being the effects product. If you are familiar with the kaos pads you kn=
ow what this thing does, the real star was the kaosilator which allows ever=
ything from theremin like textures to scalic melodies, to short loops that =
you can create and overdub on top and layer everything from drum loops to b=
ass lines to synth and orchestral sounds. I didn=92t really delve into much=
 more than that but I had a blast playing the kaosilator through the mini k=
aos pad. They can run on either AA batteries or power supply, and both have=
 the usual high quality korg sounds. Imagine a palm sized synth/looper, the=
 future is now.</SPAN></FONT></P>
<P class=3DEC_MsoPlainText><FONT face=3D"Courier New" color=3Dblack size=3D=
2><SPAN style=3D"FONT-SIZE: 10pt; COLOR: black">Bill</SPAN></FONT></P></DIV=
></BLOCKQUOTE><br /><hr />She said what? About who? <a href=3D'http://www.m=
snsearchstar.com' target=3D'_new'>Shameful celebrity quotes on Search Star!=
</a></body>
</html>=

--_47c7262c-2ede-4ab4-845e-c8f900bcb920_--

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 08:51:03 2008
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Subject: NASA beams Beatles Across the Universe,literally
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http://www.space.com/news/080201-beatles-across.htmlhttp://thelede.blogs.ny=
times.com/2008/02/01/nasa-says-hello-universe-meet-the-beatles/?hp
NASA will beam The Beatles' song,
"Across the Universe," into deep space Monday in an unprecedented long dist=
ance dedication by the U.S. agency.



NASA's Deep Space
Network will transmit the song at 7:00 p.m. EST (0000 Feb. 5 GMT) on Feb. 4=
 in honor of several cosmic-themed anniversaries.=20

Monday marks the 40th anniversary of the day the song was
recorded. This year also marks the 50th anniversary of NASA's founding and =
the
inception of The Beatles. Two other milestones also are being honored inclu=
ding,
the 50th anniversary of Explorer 1, the first U.S. satellite, and the 45th =
birthday
of the Deep Space Network, an international network of antennas that suppor=
ts
missions to explore the universe......

 The public
around the world has been invited to participate in the event by playing th=
e
song at the same time it is transmitted by NASA.



You know, I kind of like the part in
"space" when the audience turns around and wonders, "What am I
doing here?"  Jerry Garcia






_________________________________________________________________
Need to know the score, the latest news, or you need your Hotmail=AE-get yo=
ur "fix".
http://www.msnmobilefix.com/Default.aspx=

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{
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FONT-FAMILY:Tahoma
}
</style>
</head>
<body class=3D'hmmessage'>

<font face=3D"arial" size=3D"2"><font face=3D"arial"><p class=3D"MsoNormal"=
><span style=3D"font-size: 10pt; font-family: Arial;">http://www.space.com/=
news/080201-beatles-across.html</span></p><p class=3D"MsoNormal"><span styl=
e=3D"font-size: 10pt; font-family: Arial;">http://thelede.blogs.nytimes.com=
/2008/02/01/nasa-says-hello-universe-meet-the-beatles/?hp<br></span></p><p =
class=3D"MsoNormal"><span style=3D"font-size: 10pt; font-family: Arial;">NA=
SA will beam The Beatles' song,
"Across the Universe," into deep space Monday in an unprecedented long dist=
ance dedication by the U.S. agency.</span></p>



<p class=3D"MsoNormal"><span style=3D"font-size: 10pt; font-family: Arial;"=
>NASA's <a href=3D"http://www.space.com/spacenews/businessmonday_060521.htm=
l">Deep Space
Network</a> will transmit the song at 7:00 p.m. EST (0000 Feb. 5 GMT) on Fe=
b. 4 in honor of several cosmic-themed anniversaries.</span></p>=20

<p class=3D"MsoNormal"><span style=3D"font-size: 10pt; font-family: Arial;"=
>Monday marks the 40th anniversary of the day the song was
recorded. This year also marks the 50th anniversary of NASA's founding and =
the
inception of The Beatles. Two other milestones also are being honored inclu=
ding,
the <a href=3D"http://www.space.com/news/cs-080131-explorer1-history.html">=
50th anniversary of Explorer 1</a>, the first U.S. satellite, and the 45th =
birthday
of the Deep Space Network, an international network of antennas that suppor=
ts
missions to explore the universe......</span></p></font></font><br><br><spa=
n class=3D"body"></span><span class=3D"EC_EC_EC_bodybold"></span> <font fac=
e=3D"arial" size=3D"2"><font face=3D"arial"><span style=3D"font-size: 10pt;=
 font-family: Arial;">The public
around the world has been invited to participate in the event by playing th=
e
song at the same time it is transmitted by NASA.</span></font></font><br><f=
ont face=3D"New York,Times New Roman"><br><br><br>You know, I kind of like =
the part in
"space" when the audience turns around and wonders, "What am I
doing here?"&nbsp; Jerry Garcia</font><br>
<br>
<span class=3D"EC_EC_EC_Apple-style-span" style=3D"border-collapse: separat=
e; color: rgb(0, 0, 0); font-family: Geneva; font-size: 12px; font-style: n=
ormal; font-variant: normal; font-weight: normal; letter-spacing: normal; l=
ine-height: normal; text-indent: 0px; text-transform: none; white-space: no=
rmal; word-spacing: 0px;"><dl><dd><br></dd></dl></span><span class=3D"EC_EC=
_EC_bodybold"></span><span class=3D"body"></span><br><a href=3D"http://www.=
brainyquote.com/quotes/quotes/l/louisarmst163740.html" target=3D"_blank"></=
a><br /><hr />Need to know the score, the latest news, or you need your Hot=
mail=AE-get your "fix". <a href=3D'http://www.msnmobilefix.com/Default.aspx=
' target=3D'_new'>Check it out.</a></body>
</html>=

--_7f7db667-07fa-46b6-a76e-0e92bb917359_--

From admin@fondazionedivittorio.it  Sat Feb  2 08:51:34 2008
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From: Foundazion Di Vittorio <admin@fondazionedivittorio.it>
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VITTORIO FONDAZIONE.
Corso Ercole I d'Este 44,
Ferrara 44100 - Italy.
Foundation's Officer,
Fondazion Di Vittorio, ITALY
http://www.fondazionedivittorio.it

Congratulations The Foundazion Di Vittorio, would like to notify you that yo=
u
have been chosen by the board of trustees as one of the final recipients of =
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development.Congratulations once again from all the staff here on your cash
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charity donations/aid from the Vittorio Foundation, ECOWAS, EU and the UNO i=
n
accordance with the enabling act of Parliament which your e-mail addres was
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COMPANY for the delivery of your certificate and cheque of US$500,000.

For further details on how to receive your grant,Please contact the COURIER
COMPANY why contacting them include this order Number 37096218.

Mr.Maxwell Rikky(dispatch officer)
airmaxexpressdeliveryservice1@yahoo.com.hk
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Congratulations On behalf of all members of the Foundazion Di Vittorio.
Yours Truly,
Mrs. Rosemary Cole.
Online Grant Co-ordinator
The Foundazion Di Vittorio


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Subject: NASA beams Beatles Across the Universe,literally
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http://www.space.com/news/080201-beatles-across.htmlhttp://thelede.blogs.ny=
times.com/2008/02/01/nasa-says-hello-universe-meet-the-beatles/?hp
NASA will beam The Beatles' song,
"Across the Universe," into deep space Monday in an unprecedented long dist=
ance dedication by the U.S. agency.



NASA's Deep Space
Network will transmit the song at 7:00 p.m. EST (0000 Feb. 5 GMT) on Feb. 4=
 in honor of several cosmic-themed anniversaries.=20

Monday marks the 40th anniversary of the day the song was
recorded. This year also marks the 50th anniversary of NASA's founding and =
the
inception of The Beatles. Two other milestones also are being honored inclu=
ding,
the 50th anniversary of Explorer 1, the first U.S. satellite, and the 45th =
birthday
of the Deep Space Network, an international network of antennas that suppor=
ts
missions to explore the universe......

 The public
around the world has been invited to participate in the event by playing th=
e
song at the same time it is transmitted by NASA.



You know, I kind of like the part in
"space" when the audience turns around and wonders, "What am I
doing here?"  Jerry Garcia






_________________________________________________________________
Connect and share in new ways with Windows Live.
http://www.windowslive.com/share.html?ocid=3DTXT_TAGHM_Wave2_sharelife_0120=
08=

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<body class=3D'hmmessage'>


<font face=3D"arial" size=3D"2"><font face=3D"arial"><p class=3D"MsoNormal"=
><span style=3D"font-size: 10pt; font-family: Arial;">http://www.space.com/=
news/080201-beatles-across.html</span></p><p class=3D"MsoNormal"><span styl=
e=3D"font-size: 10pt; font-family: Arial;">http://thelede.blogs.nytimes.com=
/2008/02/01/nasa-says-hello-universe-meet-the-beatles/?hp<br></span></p><p =
class=3D"MsoNormal"><span style=3D"font-size: 10pt; font-family: Arial;">NA=
SA will beam The Beatles' song,
"Across the Universe," into deep space Monday in an unprecedented long dist=
ance dedication by the U.S. agency.</span></p>



<p class=3D"MsoNormal"><span style=3D"font-size: 10pt; font-family: Arial;"=
>NASA's <a href=3D"http://www.space.com/spacenews/businessmonday_060521.htm=
l">Deep Space
Network</a> will transmit the song at 7:00 p.m. EST (0000 Feb. 5 GMT) on Fe=
b. 4 in honor of several cosmic-themed anniversaries.</span></p>=20

<p class=3D"MsoNormal"><span style=3D"font-size: 10pt; font-family: Arial;"=
>Monday marks the 40th anniversary of the day the song was
recorded. This year also marks the 50th anniversary of NASA's founding and =
the
inception of The Beatles. Two other milestones also are being honored inclu=
ding,
the <a href=3D"http://www.space.com/news/cs-080131-explorer1-history.html">=
50th anniversary of Explorer 1</a>, the first U.S. satellite, and the 45th =
birthday
of the Deep Space Network, an international network of antennas that suppor=
ts
missions to explore the universe......</span></p></font></font><br><br><spa=
n class=3D"body"></span><span class=3D"EC_EC_EC_bodybold"></span> <font fac=
e=3D"arial" size=3D"2"><font face=3D"arial"><span style=3D"font-size: 10pt;=
 font-family: Arial;">The public
around the world has been invited to participate in the event by playing th=
e
song at the same time it is transmitted by NASA.</span></font></font><br><f=
ont face=3D"New York,Times New Roman"><br><br><br>You know, I kind of like =
the part in
"space" when the audience turns around and wonders, "What am I
doing here?"&nbsp; Jerry Garcia</font><br>
<br>
<span class=3D"EC_EC_EC_Apple-style-span" style=3D"border-collapse: separat=
e; color: rgb(0, 0, 0); font-family: Geneva; font-size: 12px; font-style: n=
ormal; font-variant: normal; font-weight: normal; letter-spacing: normal; l=
ine-height: normal; text-indent: 0px; text-transform: none; white-space: no=
rmal; word-spacing: 0px;"><dl><dd><br></dd></dl></span><span class=3D"EC_EC=
_EC_bodybold"></span><span class=3D"body"></span><br><a href=3D"http://www.=
brainyquote.com/quotes/quotes/l/louisarmst163740.html" target=3D"_blank"></=
a><br /><hr />Connect and share in new ways with Windows Live. <a href=3D'h=
ttp://www.windowslive.com/share.html?ocid=3DTXT_TAGHM_Wave2_sharelife_01200=
8' target=3D'_new'>Get it now!</a></body>
</html>=

--_c3daee43-814c-4569-8f33-84f03821b786_--

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 09:01:44 2008
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	id 485A23BEC7; Sat,  2 Feb 2008 09:01:44 +0000 (UTC)
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Reply-To: "Tilmann Dehnhard" <tilmann@dehnhard.com>
From: "Tilmann Dehnhard" <tilmann@dehnhard.com>
To: <Loopers-Delight@loopers-delight.com>
References: <FE8928E3-3CCE-4407-BFAE-0056C79FFEC4@steve-lawson.co.uk> <47A26E68.7030902@hevanet.com>
Subject: Re: flute loops 
Date: Sun, 3 Feb 2008 14:35:59 +0530
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thanx for asking!
the vids were done in a photo studio at filmschool here in berlin.
it's mini dv, lighting possibilities where limited, but dennis, the camera 
guy did a great job.
we recorded several versions, put them into some movie editing program and 
jumped between versions visually. i believe there is one cut in the audio, 
only.
so this is actually a one-camera-job, but we did our best to disguise 
that...

smooth looping (and filming) everybody - tilmann


> In the world of tube-loops, flutist Tilmann Dehnhard (LD listmember!) is 
> sounding/looking pretty cool at:
> http://www.youtube.com/watch?v=gO8bQb__jKg
> Tilmann, can you tell us something about that filming?   Quality!
>
> David
> 

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 12:59:35 2008
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Date: Sat, 02 Feb 2008 07:58:30 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #565 for January 31, 2008
To: undisclosed-recipients: ;
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http://wdiy.org/programs/gt/playlists/2008/080131.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.  WDIY also broadcasts
in Digital HD at 88.1 FM.

                Show #565                January 31, 2008

RECAP:
On this show, I concluded the month-long focus on Klaus Schulze.  The
Featured CD at Midnight was disk two from "Timewind" on Revisited
Records.

Klaus Schulze: http://wdiy.org/programs/gt/playlists/2008/focus.html#jan


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Kevin Braheny        Starflight 1 *       Galaxies (Hearts of Space)
Traum                Part 2               SEM (Equation)
Ian Boddy            Welcome to the       The Final Question (DiNDDL)
                       Soundhouse
Ian Boddy            Zero-G               The Final Question (DiNDDL)
Dreamwind            Knock on the Floor   Best of Early Years (none)
Robert Scott         Needles              Pendere (Aucourant)
  Thompson
Aloof Proof          The Ghost Ship       Piano Text (Infraction)

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Klaus Schulze        Echoes of Time       Timewind disk 2 (Revisited)
Klaus Schulze        Solar Wind           Timewind disk 2 (Revisited)
Klaus Schulze        Windy Times          Timewind disk 2 (Revisited)

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 Manikin
Records.  The Featured CD at Midnight will be disk one from "First
Decade 1992 - 2002."

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EST (GMT-5:00) 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.  WDIY also broadcasts in HD Digital Radio
on 88.1 FM.
Galactic Travels web site: http://galactictravels.info
MySpace: http://myspace.com/galactictravels
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
Listen on-line to WDIY at http://wdiy.org and click on the LISTEN link
or go directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm
To subscribe to the galactic-travels mailing list, click on [Join This
Group!] at http://groups.yahoo.com/group/galactic-travels
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

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 14:00:24 2008
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From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: re:  density
Date: Thu, 31 Jan 2008 06:00:34 -0800
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Matthias Grob wrote:
most original music grows out of playing. So the question "what music
would I like to perform?" is useful but usually limiting to what we
heard before or to the sounds and playing techniques we are used to.
For me looping was much more a way to discover what comes out of
myself than a tool to "construct" what I had imagined.


Wow, you have really hit the nail on the head to describe what I personally 
love about live looping.

I have played very arranged and composed music for most of my life and since 
around 1998  I have played almost
entirely improvised music using live looping devices.

I love that I don't know what's going to happen in a solo (or duet or trio) 
live looping gig.

There is so much serendipity that it has really improved my musicianship to 
be able to respond in very musical
and supportive ways to what come out.

I've begun to realize that most musicians have a tendency to project what it 
is that they are playing on
an ensemble situation.......................because we use our intellect and 
our physical and conceptual skills
to play some sometimes very complex musical passages it becomes difficult to 
actually hear what you have
played in an ensemble situation.

When you loop, however,  you get to listen back to EXACTLY what you have 
played............................not what you wish
you had played but what you actually played.

If you've been human and made minor mistakes in your execution and timing, 
your task, then, is to respond to exactly what
you've played and make it sound more musical and coherent.

With live looping,  one can play a fairly 'lumpy' (or slightly inaccurate) 
loop and by what choices one makes in subsequent
layers of overdubbing,  one can actually recontextualize inaccurate playing 
into very, very musical pieces.

We, therefore,  have to respond to what we hear.......................NOT 
what we intended to play.....................what we ACTUALLY played.

This is really profound and for me,  it has greatly improved my ability to 
play with many different musicians,  no matter what their level
of competency.

In the first 30 years of playing I tried really hard to play as perfectly as 
possible despite the level of competency or the quality of the
'feel'  of a musician I was playing with.

In the last 10 years,  I have started to try and make every single person I 
play with sound better (including myself when I sometimes
play less than accurate loops).

In my own life,  I could have never made this wonderful conceptual 
breakthrough if I hadn't done a hell of a lot of solo live looping concerts.

My philosophy now, is PLAY WHAT IS,   not   what you want, or intend, or 
expect it to be.............whether you are layering on your own loops ,
playing with another syncrhonized or unsynchronized live looper or whether 
you are playing in a completey non-looping context.

When I take this philosophy,  I have learned so damned much more about the 
concept of timing.................stretched 
timing.............phrasing..........
and more about music.

Okay,  I just went to goth night and had a great time (and drank 3 strongish 
cosmopolitans)  so I'll quit babbling.

Nice thread.  Thanks guys! 

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 15:44:57 2008
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From: David Auker <davauk@hevanet.com>
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Lighting abstract, almost reduced to black and white, perfect visual for 
the deep sound of that contrabass (that must be a trip moving that baby 
around?).  No distractions, cuts to the point, nice simple shots of the 
foot pedals.

Loop on, David

Tilmann Dehnhard wrote:
> thanx for asking!
> the vids were done in a photo studio at filmschool here in berlin.
> it's mini dv, lighting possibilities where limited, but dennis, the 
> camera guy did a great job.
> we recorded several versions, put them into some movie editing program 
> and jumped between versions visually. i believe there is one cut in 
> the audio, only.
> so this is actually a one-camera-job, but we did our best to disguise 
> that...
>
> smooth looping (and filming) everybody - tilmann
>
>
>> In the world of tube-loops, flutist Tilmann Dehnhard (LD listmember!) 
>> is sounding/looking pretty cool at:
>> http://www.youtube.com/watch?v=gO8bQb__jKg 
>> <http://www.youtube.com/watch?v=gO8bQb__jKg>
>> Tilmann, can you tell us something about that filming?   Quality!
>>
>> David
>>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 17:28:21 2008
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Rick,
Beautifully put --even on Cosmos.
My yerba mate buzz tells me: This is the zen essence of looping--just letti=
ng it happen. There are times when I let the loop play and delay and play s=
ome more and sit in rapture of the sonic universe creating itself at my fee=
t.=20
Arise and abide. Like Per's looped posted last week--beautiful.
Disturbing works for me, too, sometimes
Peace
J.D.
deafrose58

> From: looppool@cruzio.com
> To: Loopers-Delight@loopers-delight.com
> Subject: re:  density
> Date: Thu, 31 Jan 2008 06:00:34 -0800
>=20
> Matthias Grob wrote:
> most original music grows out of playing. So the question "what music
> would I like to perform?" is useful but usually limiting to what we
> heard before or to the sounds and playing techniques we are used to.
> For me looping was much more a way to discover what comes out of
> myself than a tool to "construct" what I had imagined.
>=20
>=20
> Wow, you have really hit the nail on the head to describe what I personal=
ly=20
> love about live looping.
>=20
> I have played very arranged and composed music for most of my life and si=
nce=20
> around 1998  I have played almost
> entirely improvised music using live looping devices.
>=20
> I love that I don't know what's going to happen in a solo (or duet or tri=
o)=20
> live looping gig.
>=20
> There is so much serendipity that it has really improved my musicianship =
to=20
> be able to respond in very musical
> and supportive ways to what come out.
>=20
> I've begun to realize that most musicians have a tendency to project what=
 it=20
> is that they are playing on
> an ensemble situation.......................because we use our intellect =
and=20
> our physical and conceptual skills
> to play some sometimes very complex musical passages it becomes difficult=
 to=20
> actually hear what you have
> played in an ensemble situation.
>=20
> When you loop, however,  you get to listen back to EXACTLY what you have=
=20
> played............................not what you wish
> you had played but what you actually played.
>=20
> If you've been human and made minor mistakes in your execution and timing=
,=20
> your task, then, is to respond to exactly what
> you've played and make it sound more musical and coherent.
>=20
> With live looping,  one can play a fairly 'lumpy' (or slightly inaccurate=
)=20
> loop and by what choices one makes in subsequent
> layers of overdubbing,  one can actually recontextualize inaccurate playi=
ng=20
> into very, very musical pieces.
>=20
> We, therefore,  have to respond to what we hear.......................NOT=
=20
> what we intended to play.....................what we ACTUALLY played.
>=20
> This is really profound and for me,  it has greatly improved my ability t=
o=20
> play with many different musicians,  no matter what their level
> of competency.
>=20
> In the first 30 years of playing I tried really hard to play as perfectly=
 as=20
> possible despite the level of competency or the quality of the
> 'feel'  of a musician I was playing with.
>=20
> In the last 10 years,  I have started to try and make every single person=
 I=20
> play with sound better (including myself when I sometimes
> play less than accurate loops).
>=20
> In my own life,  I could have never made this wonderful conceptual=20
> breakthrough if I hadn't done a hell of a lot of solo live looping concer=
ts.
>=20
> My philosophy now, is PLAY WHAT IS,   not   what you want, or intend, or=
=20
> expect it to be.............whether you are layering on your own loops ,
> playing with another syncrhonized or unsynchronized live looper or whethe=
r=20
> you are playing in a completey non-looping context.
>=20
> When I take this philosophy,  I have learned so damned much more about th=
e=20
> concept of timing.................stretched=20
> timing.............phrasing..........
> and more about music.
>=20
> Okay,  I just went to goth night and had a great time (and drank 3 strong=
ish=20
> cosmopolitans)  so I'll quit babbling.
>=20
> Nice thread.  Thanks guys!=20
>=20

_________________________________________________________________
Climb to the top of the charts!=A0Play the word scramble challenge with sta=
r power.
http://club.live.com/star_shuffle.aspx?icid=3Dstarshuffle_wlmailtextlink_ja=
n=

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<body class=3D'hmmessage'>
Rick,<br>Beautifully put --even on Cosmos.<br>My yerba mate buzz tells me: =
This is the zen essence of looping--just letting it happen. There are times=
 when I let the loop play and delay and play some more and sit in rapture o=
f the sonic universe creating itself at my feet. <br>Arise and abide. Like =
Per's looped posted last week--beautiful.<br>Disturbing works for me, too, =
sometimes<br>Peace<br>J.D.<br>deafrose58<br><br>&gt; From: looppool@cruzio.=
com<br>&gt; To: Loopers-Delight@loopers-delight.com<br>&gt; Subject: re:  d=
ensity<br>&gt; Date: Thu, 31 Jan 2008 06:00:34 -0800<br>&gt; <br>&gt; Matth=
ias Grob wrote:<br>&gt; most original music grows out of playing. So the qu=
estion "what music<br>&gt; would I like to perform?" is useful but usually =
limiting to what we<br>&gt; heard before or to the sounds and playing techn=
iques we are used to.<br>&gt; For me looping was much more a way to discove=
r what comes out of<br>&gt; myself than a tool to "construct" what I had im=
agined.<br>&gt; <br>&gt; <br>&gt; Wow, you have really hit the nail on the =
head to describe what I personally <br>&gt; love about live looping.<br>&gt=
; <br>&gt; I have played very arranged and composed music for most of my li=
fe and since <br>&gt; around 1998  I have played almost<br>&gt; entirely im=
provised music using live looping devices.<br>&gt; <br>&gt; I love that I d=
on't know what's going to happen in a solo (or duet or trio) <br>&gt; live =
looping gig.<br>&gt; <br>&gt; There is so much serendipity that it has real=
ly improved my musicianship to <br>&gt; be able to respond in very musical<=
br>&gt; and supportive ways to what come out.<br>&gt; <br>&gt; I've begun t=
o realize that most musicians have a tendency to project what it <br>&gt; i=
s that they are playing on<br>&gt; an ensemble situation...................=
....because we use our intellect and <br>&gt; our physical and conceptual s=
kills<br>&gt; to play some sometimes very complex musical passages it becom=
es difficult to <br>&gt; actually hear what you have<br>&gt; played in an e=
nsemble situation.<br>&gt; <br>&gt; When you loop, however,  you get to lis=
ten back to EXACTLY what you have <br>&gt; played..........................=
..not what you wish<br>&gt; you had played but what you actually played.<br=
>&gt; <br>&gt; If you've been human and made minor mistakes in your executi=
on and timing, <br>&gt; your task, then, is to respond to exactly what<br>&=
gt; you've played and make it sound more musical and coherent.<br>&gt; <br>=
&gt; With live looping,  one can play a fairly 'lumpy' (or slightly inaccur=
ate) <br>&gt; loop and by what choices one makes in subsequent<br>&gt; laye=
rs of overdubbing,  one can actually recontextualize inaccurate playing <br=
>&gt; into very, very musical pieces.<br>&gt; <br>&gt; We, therefore,  have=
 to respond to what we hear.......................NOT <br>&gt; what we inte=
nded to play.....................what we ACTUALLY played.<br>&gt; <br>&gt; =
This is really profound and for me,  it has greatly improved my ability to =
<br>&gt; play with many different musicians,  no matter what their level<br=
>&gt; of competency.<br>&gt; <br>&gt; In the first 30 years of playing I tr=
ied really hard to play as perfectly as <br>&gt; possible despite the level=
 of competency or the quality of the<br>&gt; 'feel'  of a musician I was pl=
aying with.<br>&gt; <br>&gt; In the last 10 years,  I have started to try a=
nd make every single person I <br>&gt; play with sound better (including my=
self when I sometimes<br>&gt; play less than accurate loops).<br>&gt; <br>&=
gt; In my own life,  I could have never made this wonderful conceptual <br>=
&gt; breakthrough if I hadn't done a hell of a lot of solo live looping con=
certs.<br>&gt; <br>&gt; My philosophy now, is PLAY WHAT IS,   not   what yo=
u want, or intend, or <br>&gt; expect it to be.............whether you are =
layering on your own loops ,<br>&gt; playing with another syncrhonized or u=
nsynchronized live looper or whether <br>&gt; you are playing in a complete=
y non-looping context.<br>&gt; <br>&gt; When I take this philosophy,  I hav=
e learned so damned much more about the <br>&gt; concept of timing.........=
........stretched <br>&gt; timing.............phrasing..........<br>&gt; an=
d more about music.<br>&gt; <br>&gt; Okay,  I just went to goth night and h=
ad a great time (and drank 3 strongish <br>&gt; cosmopolitans)  so I'll qui=
t babbling.<br>&gt; <br>&gt; Nice thread.  Thanks guys! <br>&gt; <br><br />=
<hr />Climb to the top of the charts!=A0Play the word scramble challenge wi=
th star power. <a href=3D'http://club.live.com/star_shuffle.aspx?icid=3Dsta=
rshuffle_wlmailtextlink_jan' target=3D'_new'>Play now!</a></body>
</html>=

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From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 20:24:48 2008
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Subject: Re: density
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Howdy!

Well put Ricko!

Many times (as you know) I have trouble with the "what I expect to 
happen"
part - even in the otherwise free and unfettered process of "solo" 
looping.

There is always the "expectation" (or hope) that things will "go well" 
(even
if not exactly predictably in a certain way, or manner, or form).

Sometimes they do not.

Sometime I show up for the gig but find the "muse" stayed home (along 
with my
confidence and courage and energy).

Sometimes gremlins show up instead . . . heheheheh.

Then things really suck.

This is something I am still struggling to learn to "live with."

BTW . . . I picked up those SRM450s.

I'm a happy camper (even though they're not "new") and I'm looking 
forward
to this years season of gigs and fests with my interim "new rig."

Cheers,

Ted

On Jan 31, 2008, at 6:00 AM, Rick Walker wrote:

> My philosophy now, is PLAY WHAT IS, not what you want, or intend, or
> expect it to be.............whether you are layering on your own loops,
> playing with another syncrhonized or unsynchronized live looper or
> whether you are playing in a completey non-looping context.
--Apple-Mail-1-338370829
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	charset=US-ASCII

Howdy!


Well put Ricko!


Many times (as you know) I have trouble with the "what I expect to
happen"

part - even in the otherwise free and unfettered process of "solo"
looping.


There is always the "expectation" (or hope) that things will "go well"
(even 

if not exactly predictably in a certain way, or manner, or form).


Sometimes they do not.


Sometime I show up for the gig but find the "muse" stayed home (along
with my

confidence and courage and energy).


Sometimes gremlins show up instead . . . heheheheh.


Then things really suck.


This is something I am still struggling to learn to "live with."


BTW . . . I picked up those SRM450s.


I'm a happy camper (even though they're not "new") and I'm looking
forward 

to this years season of gigs and fests with my
<italic>interim</italic> "new rig."


Cheers,


Ted


On Jan 31, 2008, at 6:00 AM, Rick Walker wrote:


<excerpt>My philosophy now, is PLAY WHAT IS, not what you want, or
intend, or 

expect it to be.............whether you are layering on your own loops,

playing with another syncrhonized or unsynchronized live looper or 

whether you are playing in a completey non-looping context.</excerpt>
--Apple-Mail-1-338370829--

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Date: Sat, 2 Feb 2008 15:25:39 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: loopers-Delight@loopers-delight.com
Subject: OT: anybody dealt with tendinitis?
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As I'm aging a bit and after now 25-30ish years of playing guitar among
other things it seems I'm getting occasional bouts with tendinitis or
related.  I do home-made yoga and much stretching but every now and then as
now I get a zinger.  This current one which hasn't stopped me playing but I
get cautious, began as somewhat of a tennis elbow in my left joint and seems
to have migrated down to landing in my first finger.  The only thing I can
attrib is my fretless guitar is higher action than my fretted and I've been
in a period of heavy playing of it.  I've done  ice and as said stretching
but interested in maybe getting a thread of knowledge going on any positive
support to these kind of physical issues if anyone cares to echo.
When things like this happen I'm reminded of the MASH episode where Hawkeye
had been through a bazillion surgery's removing limbs.  He was exhausted and
fell  asleep.  He had  a dream that he was floating  in the middle of lake
in a boat and he had no arms.  Anytime I get anything physical that flashes
to me.

Anyhow tendinitis...

Jim
www.jimgoodinmusic.com
www.myspace.com/jimgoodinmusic
www.chinapaintingmusic.com
www.myspace.com/chinapaintingmusic

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As I&#39;m aging a bit and after now 25-30ish years of playing guitar among other things it seems I&#39;m getting occasional bouts with tendinitis or related. &nbsp;I do home-made yoga and much stretching but every now and then as now I get a zinger. &nbsp;This current one which hasn&#39;t stopped me playing but I get cautious, began as somewhat of a tennis elbow in my left joint and seems to have migrated down to landing in my first finger. &nbsp;The only thing I can attrib is my fretless guitar is higher action than my fretted and I&#39;ve been in a period of heavy playing of it. &nbsp;I&#39;ve done &nbsp;ice and as said stretching but interested in maybe getting a thread of knowledge going on any positive support to these kind of physical issues if anyone cares to echo.<div>
<br class="webkit-block-placeholder"></div><div>When things like this happen I&#39;m reminded of the MASH episode where Hawkeye had been through a bazillion surgery&#39;s removing limbs. &nbsp;He was exhausted and fell &nbsp;asleep. &nbsp;He had &nbsp;a dream that he was floating &nbsp;in the middle of lake in a boat and he had no arms. &nbsp;Anytime I get anything physical that flashes to me.</div>
<div><br class="webkit-block-placeholder"></div><div>Anyhow tendinitis...</div><div><br class="webkit-block-placeholder"></div><div>Jim</div><div><a href="http://www.jimgoodinmusic.com">www.jimgoodinmusic.com</a></div><div>
<a href="http://www.myspace.com/jimgoodinmusic">www.myspace.com/jimgoodinmusic</a></div><div><a href="http://www.chinapaintingmusic.com">www.chinapaintingmusic.com</a></div><div><a href="http://www.myspace.com/chinapaintingmusic">www.myspace.com/chinapaintingmusic</a></div>
<div><br class="webkit-block-placeholder"></div>

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Subject: Re: anybody dealt with tendinitis?
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Have you examined the ergonomics of how you hold and play the guitar?  =
Sometimes something as simple as shortening your guitar strap to prevent =
that Jimmy Page syndrome can help. Or try holding your neck more upright =
(not totally vertical like a cello player) to relief some tension. A lot =
of jazz guitar players (John Stowell being the most prominent) hold =
their guitars like this to relief tension and allow more complex =
fingerings and fretboard dexterity.  Also, are you doing special, doctor =
or physical therapist prescribed exercises to help the matter?  =20

...if all else fails, become a lefty. :) Just don't do what Derek Bailey =
did after he realized he had carpel tunnel and refuse to get surgury.

K-


  As I'm aging a bit and after now 25-30ish years of playing guitar =
among other things it seems I'm getting occasional bouts with tendinitis =
or related.  I do home-made yoga and much stretching but every now and =
then as now I get a zinger.  This current one which hasn't stopped me =
playing but I get cautious, began as somewhat of a tennis elbow in my =
left joint and seems to have migrated down to landing in my first =
finger.  The only thing I can attrib is my fretless guitar is higher =
action than my fretted and I've been in a period of heavy playing of it. =
 I've done  ice and as said stretching but interested in maybe getting a =
thread of knowledge going on any positive support to these kind of =
physical issues if anyone cares to echo.


  When things like this happen I'm reminded of the MASH episode where =
Hawkeye had been through a bazillion surgery's removing limbs.  He was =
exhausted and fell  asleep.  He had  a dream that he was floating  in =
the middle of lake in a boat and he had no arms.  Anytime I get anything =
physical that flashes to me.


  Anyhow tendinitis...


  Jim
  www.jimgoodinmusic.com
  www.myspace.com/jimgoodinmusic
  www.chinapaintingmusic.com
  www.myspace.com/chinapaintingmusic


------=_NextPart_000_039F_01C865A1.5E1629F0
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	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3199" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Have you examined the ergonomics of how =
you hold=20
and play the guitar?&nbsp; Sometimes something as simple as shortening =
your=20
guitar strap to prevent that Jimmy Page syndrome can help. Or try =
holding your=20
neck more upright (not totally vertical like a cello player) to relief =
some=20
tension. A lot of jazz guitar players (John Stowell being the most =
prominent)=20
hold their guitars like this to relief tension and allow more complex =
fingerings=20
and fretboard dexterity.&nbsp; Also, are you doing special, doctor or =
physical=20
therapist prescribed exercises to help the matter?&nbsp;&nbsp; =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>...if all else fails, become a lefty. =
:) Just don't=20
do what Derek Bailey did after he realized he had carpel tunnel and =
refuse to=20
get surgury.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>K-</FONT></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV><BR></DIV>As I'm aging a bit and after now 25-30ish years of =
playing=20
  guitar among other things it seems I'm getting occasional bouts with=20
  tendinitis or related. &nbsp;I do home-made yoga and much stretching =
but every=20
  now and then as now I get a zinger. &nbsp;This current one which =
hasn't=20
  stopped me playing but I get cautious, began as somewhat of a tennis =
elbow in=20
  my left joint and seems to have migrated down to landing in my first =
finger.=20
  &nbsp;The only thing I can attrib is my fretless guitar is higher =
action than=20
  my fretted and I've been in a period of heavy playing of it. =
&nbsp;I've done=20
  &nbsp;ice and as said stretching but interested in maybe getting a =
thread of=20
  knowledge going on any positive support to these kind of physical =
issues if=20
  anyone cares to echo.
  <DIV><BR class=3Dwebkit-block-placeholder></DIV>
  <DIV>When things like this happen I'm reminded of the MASH episode =
where=20
  Hawkeye had been through a bazillion surgery's removing limbs. =
&nbsp;He was=20
  exhausted and fell &nbsp;asleep. &nbsp;He had &nbsp;a dream that he =
was=20
  floating &nbsp;in the middle of lake in a boat and he had no arms.=20
  &nbsp;Anytime I get anything physical that flashes to me.</DIV>
  <DIV><BR class=3Dwebkit-block-placeholder></DIV>
  <DIV>Anyhow tendinitis...</DIV>
  <DIV><BR class=3Dwebkit-block-placeholder></DIV>
  <DIV>Jim</DIV>
  <DIV><A =
href=3D"http://www.jimgoodinmusic.com">www.jimgoodinmusic.com</A></DIV>
  <DIV><A=20
  =
href=3D"http://www.myspace.com/jimgoodinmusic">www.myspace.com/jimgoodinm=
usic</A></DIV>
  <DIV><A=20
  =
href=3D"http://www.chinapaintingmusic.com">www.chinapaintingmusic.com</A>=
</DIV>
  <DIV><A=20
  =
href=3D"http://www.myspace.com/chinapaintingmusic">www.myspace.com/chinap=
aintingmusic</A></DIV>
  <DIV><BR =
class=3Dwebkit-block-placeholder></DIV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_039F_01C865A1.5E1629F0--

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 20:59:25 2008
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Date: Sat, 02 Feb 2008 14:45:47 -0500
From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: Video Performances 02.07.08 and 02.08.08
To: DrTVideo@egroups.com
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Hi folks,

I have two very different video improvisation shows next week.

Thursday 02.07.08 at TT the Bear's, 19 Brookline Street, Cambridge MA

An ambient/experimental/psychedelic rock night

show starts at 9pm.. bands from first to last;
ponies in the surf   www.myspace.com/poniesinthesurf
panda and child  www.myspace.com/pandaandchild
caspian  www.myspace.com/caspiantheband
28 degrees taurus www.myspace.com/28degreestaurus

I'm playing with the last 3 bands, which means I probably start 
around 9:45. I don't know what the door charge will be.


Friday 02.08.08 at 119 Gallery, 119 Chelmsford Street, Lowell MA.

Doctor T with the Impromtu 3.

Doctor T -- Video Mixing
Michael Bloom -- Table Guitar and Bass
David Kirkdorffer -- guitar and loops.
Tim Mungenast -- guitar and electronics.

Back in December, I performed at 119 gallery with a trio of musicians 
who had never played together. The evening was truly magical, as will 
happen more often than not improvisation when players bring skills, 
imagination, and unselfish imagination to the situation.

This show features a different such trio, and I'll be sure to include 
some imagery derived from stills of our (too) many snowstorms, along 
with my usual eclectic video mix.

Suggested donation $ 5,00.
-- 
" Practice makes perfect, imperfect is better."  -- Paul Bley

		Emile Tobenfeld, Ph. D.
Video Producer			Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: OT: anybody dealt with tendinitis?
Date: Sat, 2 Feb 2008 12:59:24 -0800
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Hi,

I have the "tennis elbow" thing in my right arm (my picking hand).

I'm right-handed too and also make my living with a mouse in front of a=20=

computer every day all day long with that hand.

The only thing I have noticed to have an effect is when I make a=20
conscious effort to change my technique enough (in one area or the=20
other) to force me to use slightly different muscles and tendons.

Examples:

At work switching from mouse to trackball, track pad, or pen and tablet.

In playing guitar going to metal banjo picks from bare fingers.

On the fretting hand side, you might try dropping the fretless for a=20
wee period and taking up bottleneck slide, or if you're a real glutton=20=

for punishment lap steel slide (with a bar).

Other than the therapies you are already doing (rest and ice) the only=20=

other relief is the occasional shot of cortizone directly in the=20
affected elbow - helps lots right away but is not good over time and=20
repeated shots in the same joint.

Oh and sometimes an Ace Bandage on the affected limb helps too (I'm not=20=

sure why it works, but it does).

Just things you might try.

By no means am I a doctor.

I just seem to see them more often as I get older too.

Cheers,

Ted Killian


On Feb 2, 2008, at 12:25 PM, Jim Goodin wrote:

> As I'm aging a bit and after now 25-30ish years of playing guitar=20
> among other things it seems I'm getting occasional bouts with=20
> tendinitis or related. =A0I do home-made yoga and much stretching but=20=

> every now and then as now I get a zinger. =A0This current one which=20
> hasn't stopped me playing but I get cautious, began as somewhat of a=20=

> tennis elbow in my left joint and seems to have migrated down to=20
> landing in my first finger. =A0The only thing I can attrib is my=20
> fretless guitar is higher action than my fretted and I've been in a=20
> period of heavy playing of it. =A0I've done =A0ice and as said =
stretching=20
> but interested in maybe getting a thread of knowledge going on any=20
> positive support to these kind of physical issues if anyone cares to=20=

> echo.
>
> When things like this happen I'm reminded of the MASH episode where=20
> Hawkeye had been through a bazillion surgery's removing limbs. =A0He =
was=20
> exhausted and fell =A0asleep. =A0He had =A0a dream that he was =
floating =A0in=20
> the middle of lake in a boat and he had no arms. =A0Anytime I get=20
> anything physical that flashes to me.
>
> Anyhow tendinitis...
>
> Jim
> www.jimgoodinmusic.com
> www.myspace.com/jimgoodinmusic
> www.chinapaintingmusic.com
> www.myspace.com/chinapaintingmusic
>

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On Feb 2, 2008 9:25 PM, Jim Goodin <jimgoodinmusic@gmail.com> wrote:
>  getting occasional bouts with tendinitis or
> related.

Go and let a professional physiotherapist have a check on you! Such
symptoms with nerve pain can physically emanate from quite a different
part of the body than you feel it in. There's no chance to guess
correctly by yourself.

A friend of mine had a carpel tunnel syndrome surgery last year and it
went very well, he got rid of all his problems. He is a carpenter at
his daytime job and a gigging blues player at weekends plus often one
night in the week. Both occupations typically associated with the
carpel tunnel bug.

Some years ago I woke up one night with a horrible pain in my left
shoulder, beaming down into my hand and focusing in the ring finger. I
had no idea what might have caused this sudden blow. No doctor could
tell either. They "guessed" that it was a quite "Pinched Nerve" issue
common among people that do body building - but I definitely don't do
that! Not until I visited a physiotherapist also experienced in
acupuncture the mystery was solved. She only had to look at my back
for a couple of seconds to understand the issue. It appeared the pain
in the left arm was caused by tiny muscles at the lower back which had
deteriorated. The absence of these muscles made the spine bow sideways
and then the body automatically compensates for that by bowing to the
other side a bit higher up along the spine. This works fine for a
couple of years until "the bow" approaches the highest part of the
spine where all the ribs are mounted. Up there there is no room for
sideways bending and then big nerves may get squeezed badly. Which is
what had happened to me. Of course the guitar playing made it worse -
especially standing on one leg with bent torso to play with a bow and
at the same time tap dancing a floor board with the other foot - but
the real cause was my stupid experiment to stop exercising five years
earlier. I have always paracticed yoga to focus balance and then
started thinking that "what the heck is this good for, I'm in perfect
shape and never get ill anyway so I'll do this experiment to quit all
exercising just to see if it really is needed. If Milarepa could sit
for years in a cave I should be able to sit ten hours a day in a chair
and work with typing". Bottom line is that exercise IS needed. The
physiotherapist told me I was lucky to bring those tiny muscles back
to life again. She glued electrodes to my back and twice a week for
one month I received small electric shocks to "massage" the muscles.
After only two such treatments they got strong enough to react to
nerve impulses so I could take over the exercising by will. For a year
I could still feel that there had been a problem inside but then I was
fine again.

I'm not so sure it's the aging in itself that causes problems but
rather the quite unfriendly way we usually treat our bodies as
musicians. As long as you are not a professional you may also benefit
from the luxury of switching premiere instrument for a while.

-- 
Greetings from Sweden

Per Boysen
(celebrating 52 years on the planet)

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 22:10:18 2008
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From: Bob Weigel <sounddoctorin@imt.net>
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Subject: Re: OT: anybody dealt with tendinitis?
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The nutrtional supplement I've been taking for a couple years let's the 
body do a lot of healing naturally and I broke my wrist in I think '96 
pretty bad so my right tends to get tight easier usually.  But over the 
last couple years I've seen an amplified rate of improvement though I'm 
47 now.  Not to mention my vocal range has taken an improvement due to 
losing a lot of allergies I'd had and not getting sick as often.  Also 
I'm feeling better in the mornings by a longshot and doing it with an 
hour and a half less sleep!  The stuff is so cheap that if I can make ya 
know...what 2 dollars an hour in the time I save I still come out ahead 
:-).  So it's kind of a no-brainer for me.

But anyway I've heard of a lot of others getting great results with 
tendonitis and carpal tunnel syndrome.  I don't want to use the forum 
for advertising but as Clinton might say "I felt your pain" :-)   I 
believe if every musician knew the benefits they wouldn't even think 
twice about getting a couple shakes a day of Reliv into themself at 
least.  It's direct marketed  so you can just get it from a local 
distributor if you know of one (which makes it so I don't feel like I'm 
advertising.  Frankly, talking to people on the net has been a TOTAL 
waste of time about this, but I have a conscience and if I have an 
answer I can't not tell people.  .I'll bet I've spent 30 hours or more 
responding to people's questions and stuff and haven't made a penny from 
the internet interactions yet.  Locally I've gradually built a business 
but the internet just isn't the place to talk about this stuff.  It's 
too complex I guess.  But what do I do?  I can't not tell someone if 
I've heard cases where it will maybe help on things.  I hate the 
pharmaceutical industry and know that they are selling people down the 
tubes for gain.  There aren't a lot of good solutions out there and am 
just glad I found one.)

.     It has a 30 day money back guarantee but get enough in you to 
notice the difference.  Start with three shakes a day of a heaping scoop 
of the 'classic' and 3/4 scoop of innergize I believe is optimal for 
180lb guy like me.  Full scoop maybe for larger body masses.   If you 
are consistent the cells get fed everything they need it appears and 
your body will start to mend things naturally.   Some things take more 
time than others of course but if you aren't on medications and stuff 
you should be able to sense the difference within a month on some 
things.  It may take a few months to start seeing significant 
improvement with the tendonitis.  I can't remember what people usually 
find on that but I noticed improvement in my wrist within a few months 
and it just keeps steadily improving.  It used to pop all the time...I'd 
have to pull it and pop it to make it feel remotely right.  After a 
couple years it never does that anymore and the hand is working better 
than ever.   -Bob

Jim Goodin wrote:

> As I'm aging a bit and after now 25-30ish years of playing guitar 
> among other things it seems I'm getting occasional bouts with 
> tendinitis or related.  I do home-made yoga and much stretching but 
> every now and then as now I get a zinger.  This current one which 
> hasn't stopped me playing but I get cautious, began as somewhat of a 
> tennis elbow in my left joint and seems to have migrated down to 
> landing in my first finger.  The only thing I can attrib is my 
> fretless guitar is higher action than my fretted and I've been in a 
> period of heavy playing of it.  I've done  ice and as said stretching 
> but interested in maybe getting a thread of knowledge going on any 
> positive support to these kind of physical issues if anyone cares to 
> echo.
>
> When things like this happen I'm reminded of the MASH episode where 
> Hawkeye had been through a bazillion surgery's removing limbs.  He was 
> exhausted and fell  asleep.  He had  a dream that he was floating  in 
> the middle of lake in a boat and he had no arms.  Anytime I get 
> anything physical that flashes to me.
>
> Anyhow tendinitis...
>
> Jim
> www.jimgoodinmusic.com <http://www.jimgoodinmusic.com>
> www.myspace.com/jimgoodinmusic <http://www.myspace.com/jimgoodinmusic>
> www.chinapaintingmusic.com <http://www.chinapaintingmusic.com>
> www.myspace.com/chinapaintingmusic 
> <http://www.myspace.com/chinapaintingmusic>
>

From Loopers-Delight-request@loopers-delight.com  Sat Feb  2 22:20:47 2008
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Date: Sat, 2 Feb 2008 17:20:44 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: Loopers-Delight@loopers-delight.com
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Forgive this somewhat blast to each of you who replied (Per I'm 52 as well,
you didn't look it when I met you in Oct at Y2K).  All helpful and
appreciated and things that I've done or thought about.  These
conditions using come and go but have never really stayed resident like the
current.  I was very anxious about it 2 weeks back as the problem in my
finger was somewhat intense and I had a gig in California in 3 days.  In
that case I didn't play for 2, iced and stretched and by showtime Saturday
evening was in really good shape with mobility.  Along that note and
Kristen's observations about ergonomics I've rethought how i'm using that
first fretting/stopping finger and too I know John well and the angle he
plays. He's never shared that it was related to physical issues but I've
known guitarists who approach almost as an upright bass.  With my fretless
I'm doing that whereas my fretting is more parallel and maybe that's part of
it actually as I think about it.  I know a bit about Alexander Technique and
many thoughts you've communicated Per are down that road.
Additionally like some of you I do tech support/graphics production/lit
support in my day gig and I'm constantly rotate mice and keyboard fingers or
as much as I can.

Beyond that bout 2 weeks ago it's not painful and in a sense I can play
fretless for an hour without discomfort  however I'm pretty obsessive
compulsive and generally "panic to void the rush" so  I worry about these
things.

I've entertained acupuncture many times Per, what's your experience with
that or did you tell me and I missed?  Not because of unprofessional though
I don't do music all the time for income I do earn some from it so I feel a
professional  but it's more ego saying that so forgive but I do juggle other
instruments though needing to stay consistent with the guitar.  A sidebar of
the juggling I'm about to buy and Oud as an extension of my unfretted work
on guitar and hacking violin of which I also wonder if the latter which I
approached intensely for several months attrib'ed to some of this.

I do appreciate all thoughts here guys and sounds like I'm paying attn to
the shared areas.

jim

On 2/2/08, Per Boysen <perboysen@gmail.com> wrote:
>
> On Feb 2, 2008 9:25 PM, Jim Goodin <jimgoodinmusic@gmail.com> wrote:
> >  getting occasional bouts with tendinitis or
> > related.
>
> Go and let a professional physiotherapist have a check on you! Such
> symptoms with nerve pain can physically emanate from quite a different
> part of the body than you feel it in. There's no chance to guess
> correctly by yourself.
>
> A friend of mine had a carpel tunnel syndrome surgery last year and it
> went very well, he got rid of all his problems. He is a carpenter at
> his daytime job and a gigging blues player at weekends plus often one
> night in the week. Both occupations typically associated with the
> carpel tunnel bug.
>
> Some years ago I woke up one night with a horrible pain in my left
> shoulder, beaming down into my hand and focusing in the ring finger. I
> had no idea what might have caused this sudden blow. No doctor could
> tell either. They "guessed" that it was a quite "Pinched Nerve" issue
> common among people that do body building - but I definitely don't do
> that! Not until I visited a physiotherapist also experienced in
> acupuncture the mystery was solved. She only had to look at my back
> for a couple of seconds to understand the issue. It appeared the pain
> in the left arm was caused by tiny muscles at the lower back which had
> deteriorated. The absence of these muscles made the spine bow sideways
> and then the body automatically compensates for that by bowing to the
> other side a bit higher up along the spine. This works fine for a
> couple of years until "the bow" approaches the highest part of the
> spine where all the ribs are mounted. Up there there is no room for
> sideways bending and then big nerves may get squeezed badly. Which is
> what had happened to me. Of course the guitar playing made it worse -
> especially standing on one leg with bent torso to play with a bow and
> at the same time tap dancing a floor board with the other foot - but
> the real cause was my stupid experiment to stop exercising five years
> earlier. I have always paracticed yoga to focus balance and then
> started thinking that "what the heck is this good for, I'm in perfect
> shape and never get ill anyway so I'll do this experiment to quit all
> exercising just to see if it really is needed. If Milarepa could sit
> for years in a cave I should be able to sit ten hours a day in a chair
> and work with typing". Bottom line is that exercise IS needed. The
> physiotherapist told me I was lucky to bring those tiny muscles back
> to life again. She glued electrodes to my back and twice a week for
> one month I received small electric shocks to "massage" the muscles.
> After only two such treatments they got strong enough to react to
> nerve impulses so I could take over the exercising by will. For a year
> I could still feel that there had been a problem inside but then I was
> fine again.
>
> I'm not so sure it's the aging in itself that causes problems but
> rather the quite unfriendly way we usually treat our bodies as
> musicians. As long as you are not a professional you may also benefit
> from the luxury of switching premiere instrument for a while.
>
> --
> Greetings from Sweden
>
> Per Boysen
> (celebrating 52 years on the planet)
>
>


-- 
The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

------=_Part_439_3579102.1201990844243
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Forgive this somewhat blast to each of you who replied (Per I&#39;m 52 as w=
ell, you didn&#39;t look it when I met you in Oct at Y2K). &nbsp;All helpfu=
l and appreciated and things that I&#39;ve done or thought about. &nbsp;The=
se conditions&nbsp;using come and go but have never really stayed resident =
like the current. &nbsp;I was very anxious about it 2 weeks back as the pro=
blem in my finger was somewhat intense and I had a gig in California in 3 d=
ays. &nbsp;In that case I didn&#39;t play for 2, iced and stretched and by =
showtime Saturday evening was in really good shape with mobility. &nbsp;Alo=
ng that note and Kristen&#39;s observations about ergonomics I&#39;ve retho=
ught how i&#39;m using that first fretting/stopping finger and too I know J=
ohn well and the angle he plays. He&#39;s never shared that it was related =
to physical issues but I&#39;ve known guitarists who approach almost as an =
upright bass. &nbsp;With my fretless I&#39;m doing that whereas my fretting=
 is more parallel and maybe that&#39;s part of it actually as I think about=
 it. &nbsp;I know a bit about Alexander Technique and many thoughts you&#39=
;ve communicated Per are down that road.<div>
<br class=3D"webkit-block-placeholder"></div><div>Additionally like some of=
 you I do tech support/graphics production/lit support in my day gig and I&=
#39;m constantly rotate mice and keyboard fingers or as much as I can.</div=
>
<div><br class=3D"webkit-block-placeholder"></div><div>Beyond that bout 2 w=
eeks ago it&#39;s not painful and in a sense I can play fretless for an hou=
r without discomfort &nbsp;however I&#39;m pretty obsessive compulsive and =
generally &quot;panic to void the rush&quot; so &nbsp;I worry about these t=
hings.</div>
<div><br class=3D"webkit-block-placeholder"></div><div>I&#39;ve entertained=
 acupuncture many times Per, what&#39;s your experience with that or did yo=
u tell me and I missed? &nbsp;Not because of unprofessional though I don&#3=
9;t do music all the time for income I do earn some from it so I feel a pro=
fessional &nbsp;but it&#39;s more ego saying that so forgive but I do juggl=
e other instruments though needing to stay consistent with the guitar. &nbs=
p;A sidebar of the juggling I&#39;m about to buy and Oud as an extension of=
 my unfretted work on guitar and hacking violin of which I also wonder if t=
he latter which I approached intensely for several months attrib&#39;ed to =
some of this.</div>
<div><br class=3D"webkit-block-placeholder"></div><div>I do appreciate all =
thoughts here guys and sounds like I&#39;m paying attn to the shared areas.=
</div><div><br class=3D"webkit-block-placeholder"></div><div>jim<br><br><di=
v>
<span class=3D"gmail_quote">On 2/2/08, <b class=3D"gmail_sendername">Per Bo=
ysen</b> &lt;<a href=3D"mailto:perboysen@gmail.com">perboysen@gmail.com</a>=
&gt; wrote:</span><blockquote class=3D"gmail_quote" style=3D"margin:0;margi=
n-left:0.8ex;border-left:1px #ccc solid;padding-left:1ex">
On Feb 2, 2008 9:25 PM, Jim Goodin &lt;<a href=3D"mailto:jimgoodinmusic@gma=
il.com">jimgoodinmusic@gmail.com</a>&gt; wrote:<br>&gt;&nbsp;&nbsp;getting =
occasional bouts with tendinitis or<br>&gt; related.<br><br>Go and let a pr=
ofessional physiotherapist have a check on you! Such<br>
symptoms with nerve pain can physically emanate from quite a different<br>p=
art of the body than you feel it in. There&#39;s no chance to guess<br>corr=
ectly by yourself.<br><br>A friend of mine had a carpel tunnel syndrome sur=
gery last year and it<br>
went very well, he got rid of all his problems. He is a carpenter at<br>his=
 daytime job and a gigging blues player at weekends plus often one<br>night=
 in the week. Both occupations typically associated with the<br>carpel tunn=
el bug.<br>
<br>Some years ago I woke up one night with a horrible pain in my left<br>s=
houlder, beaming down into my hand and focusing in the ring finger. I<br>ha=
d no idea what might have caused this sudden blow. No doctor could<br>tell =
either. They &quot;guessed&quot; that it was a quite &quot;Pinched Nerve&qu=
ot; issue<br>
common among people that do body building - but I definitely don&#39;t do<b=
r>that! Not until I visited a physiotherapist also experienced in<br>acupun=
cture the mystery was solved. She only had to look at my back<br>for a coup=
le of seconds to understand the issue. It appeared the pain<br>
in the left arm was caused by tiny muscles at the lower back which had<br>d=
eteriorated. The absence of these muscles made the spine bow sideways<br>an=
d then the body automatically compensates for that by bowing to the<br>
other side a bit higher up along the spine. This works fine for a<br>couple=
 of years until &quot;the bow&quot; approaches the highest part of the<br>s=
pine where all the ribs are mounted. Up there there is no room for<br>sidew=
ays bending and then big nerves may get squeezed badly. Which is<br>
what had happened to me. Of course the guitar playing made it worse -<br>es=
pecially standing on one leg with bent torso to play with a bow and<br>at t=
he same time tap dancing a floor board with the other foot - but<br>the rea=
l cause was my stupid experiment to stop exercising five years<br>
earlier. I have always paracticed yoga to focus balance and then<br>started=
 thinking that &quot;what the heck is this good for, I&#39;m in perfect<br>=
shape and never get ill anyway so I&#39;ll do this experiment to quit all<b=
r>
exercising just to see if it really is needed. If Milarepa could sit<br>for=
 years in a cave I should be able to sit ten hours a day in a chair<br>and =
work with typing&quot;. Bottom line is that exercise IS needed. The<br>
physiotherapist told me I was lucky to bring those tiny muscles back<br>to =
life again. She glued electrodes to my back and twice a week for<br>one mon=
th I received small electric shocks to &quot;massage&quot; the muscles.<br>
After only two such treatments they got strong enough to react to<br>nerve =
impulses so I could take over the exercising by will. For a year<br>I could=
 still feel that there had been a problem inside but then I was<br>fine aga=
in.<br>
<br>I&#39;m not so sure it&#39;s the aging in itself that causes problems b=
ut<br>rather the quite unfriendly way we usually treat our bodies as<br>mus=
icians. As long as you are not a professional you may also benefit<br>from =
the luxury of switching premiere instrument for a while.<br>
<br>--<br>Greetings from Sweden<br><br>Per Boysen<br>(celebrating 52 years =
on the planet)<br><br></blockquote></div><br><br clear=3D"all"><br>-- <br>T=
he Acoustic World Guitar of Jim Goodin&nbsp;&nbsp;- <a href=3D"http://www.j=
imgoodinmusic.com">http://www.jimgoodinmusic.com</a><br>
MySpace (solo) - <a href=3D"http://www.myspace.com/jimgoodinmusic">http://w=
ww.myspace.com/jimgoodinmusic</a><br>Chinapainting -<br><a href=3D"http://w=
ww.chinapaintingmusic.com">http://www.chinapaintingmusic.com</a><br>Chinapa=
inting on My Space -<br>
<a href=3D"http://www.myspace.com/chinapaintingmusic.com">http://www.myspac=
e.com/chinapaintingmusic.com</a><br>The Jim Goodin label and home for 7 oth=
er creative souls - <a href=3D"http://www.woodandwiremusic.com">http://www.=
woodandwiremusic.com</a> <br>
Jim Goodin uses GHS Strings - <a href=3D"http://www.ghsstrings.com">http://=
www.ghsstrings.com</a> and Seagull Guitars - <a href=3D"http://www.seagullg=
uitars.com">http://www.seagullguitars.com</a>, Jim Goodin is published by M=
el Bay Publications, Inc. - <a href=3D"http://www.melbay.com">http://www.me=
lbay.com</a>
</div>

------=_Part_439_3579102.1201990844243--

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Message-ID: <66f9cc1e0802021454r7d57e756s49bea514949e72fb@mail.gmail.com>
Date: Sat, 2 Feb 2008 23:54:20 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: anybody dealt with tendinitis?
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On Feb 2, 2008 11:20 PM, Jim Goodin <jimgoodinmusic@gmail.com> wrote:

> I've entertained acupuncture many times Per, what's your experience with
> that or did you tell me and I missed?

Got no experience with acupuncture per se. Except from practicing yoga
for some three decades now, which seems to be the same thing but
"applied from the inside".

But my ex-wife has been temporarily cured by the needles from
"ischias" many times. First time in China, when traveling. Half an
hour with the needles removed all the pain and she could walk again
for a couple of months, until the problem came back and called for a
new treatment. In her case, the pain makes the muscles stiff in a way
that makes it impossible to relax them by will. It's a Catch 22
situation - stiff muscles pinching nerves, thus creating a pain that
makes the muscles stiff. What the acupuncture treatments does then is
to force the stiff muscles to loosen up and let go of the bad
relationship with that particular nerve. In this case acupuncture
can't cure but it helps to get "normalized".

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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From: "greg williams" <gregorwilliams@comcast.net>
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Subject: RE: anybody dealt with tendinitis?
Date: Sat, 2 Feb 2008 14:56:04 -0800
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Hi Jim,

I've had both tendonitis and carpal tunnel problems in my hands and wrist in
the past, and I have found a few things to be particularly effective. The
main issue is tension. Anything that can reduce tension in your playing or
posture can be very helpful. 

I developed problems while sitting in classical position (with footstool)for
long tense hours practicing and performing. After a recuperative break for
about a week I changed my seating position around - and stopped practicing
Bach fugues every day! - and my problems cleared up dramatically. In terms
of seating position, I now flip back and forth between having the guitar on
my right leg and using a Dynarette guitar cushion on my left leg. Having
one's foot up on a footstool is very tense on the body, and the cushion
relieves all that tension yet puts the guitar into the same position as
using a footstool.

Another thing that helped, more for carpal tunnel than tendonitis I think,
was sleeping with a wrist brace, which a doctor recommended. I bought one
over the counter at a drugstore. It helps a lot when I get the occasional
flare-up. That and rest, in terms of playing.

Ibuprofin helps, but eats your stomach and liver. Non-toxic cannabis helps
for some people as well, particularly for the relief of tension and as a
natural muscle relaxant.

 I hope some of these suggestions help you. Stay positive!

Yours,
~Greg   

-----Original Message-----
From: Jim Goodin [mailto:jimgoodinmusic@gmail.com] 
Sent: Saturday, February 02, 2008 12:26 PM
To: loopers-Delight@loopers-delight.com
Subject: OT: anybody dealt with tendinitis?

As I'm aging a bit and after now 25-30ish years of playing guitar among
other things it seems I'm getting occasional bouts with tendinitis or
related.  I do home-made yoga and much stretching but every now and then as
now I get a zinger.  This current one which hasn't stopped me playing but I
get cautious, began as somewhat of a tennis elbow in my left joint and seems
to have migrated down to landing in my first finger.  The only thing I can
attrib is my fretless guitar is higher action than my fretted and I've been
in a period of heavy playing of it.  I've done  ice and as said stretching
but interested in maybe getting a thread of knowledge going on any positive
support to these kind of physical issues if anyone cares to echo.

When things like this happen I'm reminded of the MASH episode where Hawkeye
had been through a bazillion surgery's removing limbs.  He was exhausted and
fell  asleep.  He had  a dream that he was floating  in the middle of lake
in a boat and he had no arms.  Anytime I get anything physical that flashes
to me.

Anyhow tendinitis...

Jim
www.jimgoodinmusic.com
www.myspace.com/jimgoodinmusic
www.chinapaintingmusic.com
www.myspace.com/chinapaintingmusic


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Date: Sun, 3 Feb 2008 00:41:18 +0100
From: "mark francombe" <mark@markfrancombe.com>
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Subject: FREE download-able album SPAM!!
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Please exsqueeze the spam guys!

Well the last COVER was sold from my CDR album "The Last Vestiges of Taste".
The album was recorded in 2002, and was the first release on my
SynchNonSynch label.
All copies we hand burned by me, but I had the covers printed. Last one sold
today!!!

SO... I'm now making it a FREE download... from...

http://www.markfrancombe.com/releases/lv_of_t.html

Help yourself everyone, all but one track still sound pretty decent to me,
and one or two are actually pretty good!! (Yeah, one sucks, too techno for
my current tastes... but still)

Enjoy!


Mark

-- 
www.markfrancombe.com
www.looop.no

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Please exsqueeze the spam guys!<br><br>Well the last COVER was sold from my CDR album &quot;The Last Vestiges of Taste&quot;.<br>The album was recorded in 2002, and was the first release on my SynchNonSynch label.<br>All copies we hand burned by me, but I had the covers printed. Last one sold today!!!<br>

<br>SO... I&#39;m now making it a FREE download... from...<br><br><a href="http://www.markfrancombe.com/releases/lv_of_t.html" target="_blank">http://www.markfrancombe.com/releases/lv_of_t.html</a><br><br>Help
yourself everyone, all but one track still sound pretty decent to me,
and one or two are actually pretty good!! (Yeah, one sucks, too techno
for my current tastes... but still)<br>
<br>Enjoy!<br><br><br>Mark<br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://www.looop.no">www.looop.no</a>

------=_Part_2686_27286059.1201995678529--

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From: "David Kirkdorffer" <vze2ncsr@verizon.net>
Subject: Re: anybody dealt with tendinitis?
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The number one thing I know to help abused tendons is make sure you =
relax them - *especially when you sleep.* =20

So, beware of curling your arms, wrists and hands in ways that put =
pressure on them when you sleep.  Those wrist braces you see people wear =
can be ruinous in some instances, but at night they can be helpful to =
wear as a reminder: do not to sleep on your arms, wrists or hands.

Good luck

David
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<DIV><FONT face=3DArial size=3D2>The number one thing I know to help =
abused tendons=20
is make sure you relax them - *especially when you sleep.*&nbsp; =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>So, beware of curling your arms, wrists =
and hands=20
in ways that put pressure on them when you sleep.&nbsp; Those wrist =
braces you=20
see people wear can be ruinous in some instances, but at night they can =
be=20
helpful to wear as a reminder: do not to sleep on your arms, wrists or=20
hands.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Good luck</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>David</FONT></DIV></BODY></HTML>

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Subject: drunken posting
Date: Sun, 3 Feb 2008 01:54:51 +0000
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Hi all,
=20
I was just doing the weekend catch up on my looper mail and lo...I noticed =
a post from myself about the kaoss pads, I say in cherry faced embarrasment=
 as I read my long and very drink influenced review - come- story...I actua=
lly managed to sound like "the guy in the bar with something to say".
=20
forgive, I rarely get out, me and an old buddy had a great time free from w=
ork and girlfriends and alas, that rant was the result, mind you, you got o=
f lightlyy on list...you should hear the loops my neighbours must have had =
to endure at midnight.. I found recordings a bit later today. SHEESH what w=
as i drinking!!
=20
Phill MyOneManBand
_________________________________________________________________
Telly addicts unite!
http://www.searchgamesbox.com/tvtown.shtml=

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<body class=3D'hmmessage'>
Hi all,<BR>
&nbsp;<BR>
I was just doing the weekend catch up on my looper mail and lo...I noticed =
a post from myself about the kaoss pads, I say in cherry faced embarrasment=
 as I read my long and very drink influenced review - come- story...I actua=
lly managed to sound like "the guy in the bar with something to say".<BR>
&nbsp;<BR>
forgive, I rarely get out, me and an old buddy had a great time free from w=
ork and girlfriends and alas, that rant was the result, mind you, you got o=
f lightlyy on list...you should hear the loops my neighbours must have had =
to endure at midnight.. I found recordings a bit later today. SHEESH what w=
as i drinking!!<BR>
&nbsp;<BR>
Phill MyOneManBand<BR><br /><hr />Messenger on the move. <a href=3D'http://=
mobile.uk.msn.com/pc/messenger.aspx ' target=3D'_new'>Text MSN to 63463 now=
!</a></body>
</html>=

--_899da4fd-3efb-4d0c-a8da-82bad7e09cf0_--

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<<Anyhow tendinitis...>>

How about:

http://www.littleguitarworks.com/



From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 03:06:32 2008
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Loops are intoxicating inthemselves!  (Your looping story was 
cool...keep 'em coming!)

|:  David  :|

phillip wilson wrote:
> Hi all,
>  
> I was just doing the weekend catch up on my looper mail and lo...I 
> noticed a post from myself about the kaoss pads, I say in cherry faced 
> embarrasment as I read my long and very drink influenced review - 
> come- story...I actually managed to sound like "the guy in the bar 
> with something to say".
>  
> forgive, I rarely get out, me and an old buddy had a great time free 
> from work and girlfriends and alas, that rant was the result, mind 
> you, you got of lightlyy on list...you should hear the loops my 
> neighbours must have had to endure at midnight.. I found recordings a 
> bit later today. SHEESH what was i drinking!!
>  
> Phill MyOneManBand
>
> ------------------------------------------------------------------------

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 06:41:12 2008
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From: "holotone@gmail.com" <holotone@gmail.com>
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Excellent - Thanks for the heads up! I've been waiting a long time for
this'n...

Linky here:
http://korg.com/service/downloadinfo.asp?DID=1348

~holotone

On 2/1/08, Rainer Thelonius Balthasar Straschill <rs@moinlabs.de> wrote:
>
> I already touched this in my post about the Kaoss Pad family, but this
> merits its own announcement:
>
> Korg has released a new 2.0 firmware (together with a new editor) for
> download.
> The main changes/improvements:
>         1. changed loop properties interface
>         2. new trigger type settings
>         3. new type for loop effects (don't understand that one myself...)
>
> 1. This is the big one. You may know that with the KP3, you can turn off
> and
> on segments, align start point and adjust levels for each of the four
> (loop)
> samples. However, when you entered that interface, the playback of all the
> other loops safe for the one you were just editing would stop. This was
> especially stupid not only because it disrupted your performance, but also
> because it's quite hard to adjust track levels when you only can listen to
> one track at a time when adjusting the levels.
> This has changed! Loops now continue playing and you can easily switch
> between the loops (and turn them off or on) when in that interface.
>
> 2. So far, when you had a loop, pressing the corresponding "sample" button
> would mute that loop, hitting the button would unmute it. With the new
> version, you can select a total of four different trigger modes. These are
> the old mode, a "play only while button is held" version, and two versions
> that will retrigger the loop when you mute/unmute it. Great!
>
> Both of these changes really have helped to move the KP3 from a KP2 with
> four added sample banks towards a powerful live playing tool.
>
>         Rainer
>
>


-- 
~cole
http://holotone.net/

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Excellent - Thanks for the heads up! I&#39;ve been waiting a long time for this&#39;n...<br><br>Linky here:<br><a href="http://korg.com/service/downloadinfo.asp?DID=1348">http://korg.com/service/downloadinfo.asp?DID=1348</a><br>
<br>~holotone<br><br><div><span class="gmail_quote">On 2/1/08, <b class="gmail_sendername">Rainer Thelonius Balthasar Straschill</b> &lt;<a href="mailto:rs@moinlabs.de">rs@moinlabs.de</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I already touched this in my post about the Kaoss Pad family, but this<br>merits its own announcement:<br><br>Korg has released a new 2.0 firmware (together with a new editor) for<br>download.<br>The main changes/improvements:<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1. changed loop properties interface<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2. new trigger type settings<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3. new type for loop effects (don&#39;t understand that one myself...)<br><br>1. This is the big one. You may know that with the KP3, you can turn off and<br>
on segments, align start point and adjust levels for each of the four (loop)<br>samples. However, when you entered that interface, the playback of all the<br>other loops safe for the one you were just editing would stop. This was<br>
especially stupid not only because it disrupted your performance, but also<br>because it&#39;s quite hard to adjust track levels when you only can listen to<br>one track at a time when adjusting the levels.<br>This has changed! Loops now continue playing and you can easily switch<br>
between the loops (and turn them off or on) when in that interface.<br><br>2. So far, when you had a loop, pressing the corresponding &quot;sample&quot; button<br>would mute that loop, hitting the button would unmute it. With the new<br>
version, you can select a total of four different trigger modes. These are<br>the old mode, a &quot;play only while button is held&quot; version, and two versions<br>that will retrigger the loop when you mute/unmute it. Great!<br>
<br>Both of these changes really have helped to move the KP3 from a KP2 with<br>four added sample banks towards a powerful live playing tool.<br><br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Rainer<br><br></blockquote></div><br><br clear="all"><br>-- <br>
~cole<br><a href="http://holotone.net/">http://holotone.net/</a>

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From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 06:44:42 2008
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Subject: RE: density
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This is a multipart message in MIME format.

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I agree, one of the things I really like about looping is stuff happens
that=92s completely unexpected.  More interesting that way.  I still =
look at
it as a tool though.  Just a tool that lets me play with sound and =
evolving
weirdness. J

=20

Tony

=20

From: tEd =AE KiLLiAn [mailto:tedkillian@charter.net]=20
Sent: Saturday, February 02, 2008 3:25 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: density

=20

Howdy!

Well put Ricko!

Many times (as you know) I have trouble with the "what I expect to =
happen"
part - even in the otherwise free and unfettered process of "solo" =
looping.

There is always the "expectation" (or hope) that things will "go well" =
(even

if not exactly predictably in a certain way, or manner, or form).

Sometimes they do not.

Sometime I show up for the gig but find the "muse" stayed home (along =
with
my
confidence and courage and energy).

Sometimes gremlins show up instead . . . heheheheh.

Then things really suck.

This is something I am still struggling to learn to "live with."

BTW . . . I picked up those SRM450s.

I'm a happy camper (even though they're not "new") and I'm looking =
forward=20
to this years season of gigs and fests with my interim "new rig."

Cheers,

Ted

On Jan 31, 2008, at 6:00 AM, Rick Walker wrote:

My philosophy now, is PLAY WHAT IS, not what you want, or intend, or=20
expect it to be.............whether you are layering on your own loops,
playing with another syncrhonized or unsynchronized live looper or=20
whether you are playing in a completey non-looping context.

=20

No virus found in this incoming message.
Checked by AVG Free Edition.
Version: 7.5.516 / Virus Database: 269.19.18/1255 - Release Date: =
2/1/2008
9:59 AM


No virus found in this outgoing message.
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Version: 7.5.516 / Virus Database: 269.19.18/1255 - Release Date: =
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9:59 AM
=20

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<div class=3DSection1>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>I agree, one of the things I really like about looping is =
stuff
happens that&#8217;s completely unexpected.&nbsp; More interesting that =
way.&nbsp; I still look
at it as a tool though.&nbsp; Just a tool that lets me play with sound =
and evolving
weirdness. </span><span style=3D'font-size:11.0pt;font-family:Wingdings;
color:#1F497D'>J</span><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Tony<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<div style=3D'border:none;border-top:solid #B5C4DF 1.0pt;padding:3.0pt =
0in 0in 0in'>

<p class=3DMsoNormal><b><span =
style=3D'font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span>=
</b><span
style=3D'font-size:10.0pt;font-family:"Tahoma","sans-serif"'> tEd &reg; =
KiLLiAn
[mailto:tedkillian@charter.net] <br>
<b>Sent:</b> Saturday, February 02, 2008 3:25 PM<br>
<b>To:</b> Loopers-Delight@loopers-delight.com<br>
<b>Subject:</b> Re: density<o:p></o:p></span></p>

</div>

<p class=3DMsoNormal><o:p>&nbsp;</o:p></p>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'>Howdy!<br>
<br>
Well put Ricko!<br>
<br>
Many times (as you know) I have trouble with the &quot;what I expect to
happen&quot;<br>
part - even in the otherwise free and unfettered process of =
&quot;solo&quot;
looping.<br>
<br>
There is always the &quot;expectation&quot; (or hope) that things will =
&quot;go
well&quot; (even <br>
if not exactly predictably in a certain way, or manner, or form).<br>
<br>
Sometimes they do not.<br>
<br>
Sometime I show up for the gig but find the &quot;muse&quot; stayed home =
(along
with my<br>
confidence and courage and energy).<br>
<br>
Sometimes gremlins show up instead . . . heheheheh.<br>
<br>
Then things really suck.<br>
<br>
This is something I am still struggling to learn to &quot;live =
with.&quot;<br>
<br>
BTW . . . I picked up those SRM450s.<br>
<br>
I'm a happy camper (even though they're not &quot;new&quot;) and I'm =
looking
forward <br>
to this years season of gigs and fests with my <i>interim</i> &quot;new
rig.&quot;<br>
<br>
Cheers,<br>
<br>
Ted<br>
<br>
On Jan 31, 2008, at 6:00 AM, Rick Walker wrote:<o:p></o:p></p>

<p class=3DMsoNormal>My philosophy now, is PLAY WHAT IS, not what you =
want, or
intend, or <br>
expect it to be.............whether you are layering on your own =
loops,<br>
playing with another syncrhonized or unsynchronized live looper or <br>
whether you are playing in a completey non-looping =
context.<o:p></o:p></p>

<p class=3DMsoNormal><o:p>&nbsp;</o:p></p>

<p><span style=3D'font-size:10.0pt'>No virus found in this incoming =
message.<br>
Checked by AVG Free Edition.<br>
Version: 7.5.516 / Virus Database: 269.19.18/1255 - Release Date: =
2/1/2008 9:59
AM</span><o:p></o:p></p>

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<P><FONT SIZE=3D2>No virus found in this outgoing message.<BR>
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Version: 7.5.516 / Virus Database: 269.19.18/1255 - Release Date: =
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From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 09:40:49 2008
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  tendinitis is caused by you miss using yourself investing in gadjets 
will not cure your wrong habits
another marketing delusion

Claude

list2 a écrit :
> <<Anyhow tendinitis...>>
> 
> How about:
> 
> http://www.littleguitarworks.com/
> 
> 
> 
> 
> 

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Some thoughts (guitar right arm tennis elbow cured in 1 year)

after several not really efficient osteopathy consultations I went on to
an Alexander technique teacher and took something like 30-40 "lessons"
that allowed me to be 20 times more sensitive to the unconscient bad use
we go thru in our all day and musician/guitar player life.
once you become sensitive to those mis-use  you also learn how to undo
those vicious behaviors



some good and toxic behaviors

1- not be able to stop playing and rest after 30 min
2-not be able to control any unwanted upper body movements
3- knowing nothing about your upper body anatomy.
4- stop over playing by lack of confidence before a gig. play in your
head, sing, visualize instead of doing it
5-   avoid repetitive/pattern playing
6- while you play scan your whole body for tension, release them
7- film yourself on video analyze posture, from foot to top of head,
analyze for unnecessary moving.






>Jim Goodin a écrit :
> As I'm aging a bit and after now 25-30ish years of playing guitar among
> other things it seems I'm getting occasional bouts with tendinitis or
> related.  I do home-made yoga and much stretching but every now and then as
> now I get a zinger.  This current one which hasn't stopped me playing but I
> get cautious, began as somewhat of a tennis elbow in my left joint and seems
> to have migrated down to landing in my first finger.  The only thing I can
> attrib is my fretless guitar is higher action than my fretted and I've been
> in a period of heavy playing of it.  I've done  ice and as said stretching
> but interested in maybe getting a thread of knowledge going on any positive
> support to these kind of physical issues if anyone cares to echo.
> When things like this happen I'm reminded of the MASH episode where Hawkeye
> had been through a bazillion surgery's removing limbs.  He was exhausted and
> fell  asleep.  He had  a dream that he was floating  in the middle of lake
> in a boat and he had no arms.  Anytime I get anything physical that flashes
> to me.
> 
> Anyhow tendinitis...
> 
> Jim
> www.jimgoodinmusic.com
> www.myspace.com/jimgoodinmusic
> www.chinapaintingmusic.com
> www.myspace.com/chinapaintingmusic
> 


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Subject: Re: OT: anybody dealt with tendinitis?
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complete this time....

Some thoughts (guitar right arm tennis elbow cured in 1 year)

after several not really efficient osteopathy consultations I went on to
an Alexander technique teacher and took something like 30-40 "lessons"
that allowed me to be 20 times more sensitive to the unconscient bad use
we go thru in our all day and musician/guitar player life.
once you become sensitive to those mis-use  you also learn how to undo
those vicious behaviors



some good and toxic behaviors

1- not be able to stop playing and rest after 30 min
2- not be able to control any unwanted upper body movements
3- knowing nothing about your upper body anatomy.
4- stop over playing by lack of confidence before a gig. play in your
head, sing, visualize instead of doing it
5- avoid repetitive/pattern playing (useless)
6- while you play scan your whole body for tension, release them
7- film yourself on video analyze posture, from foot to top of head,
analyze for unnecessary moving.
8- check your right and left hand pressure on the strings: we can always 
play a little lighter
9- detach your self emotionally from your playing : it is not necessary 
   to grin, feel, mimic, show, your involvement physically to be more 
"musical" all that are unnecessary tensions (Keith Jarrett :=))
10- most tendinitis cure them self after some month...

Claude






>Jim Goodin a écrit :
> As I'm aging a bit and after now 25-30ish years of playing guitar among
> other things it seems I'm getting occasional bouts with tendinitis or
> related.  I do home-made yoga and much stretching but every now and then as
> now I get a zinger.  This current one which hasn't stopped me playing but I
> get cautious, began as somewhat of a tennis elbow in my left joint and seems
> to have migrated down to landing in my first finger.  The only thing I can
> attrib is my fretless guitar is higher action than my fretted and I've been
> in a period of heavy playing of it.  I've done  ice and as said stretching
> but interested in maybe getting a thread of knowledge going on any positive
> support to these kind of physical issues if anyone cares to echo.
> When things like this happen I'm reminded of the MASH episode where Hawkeye
> had been through a bazillion surgery's removing limbs.  He was exhausted and
> fell  asleep.  He had  a dream that he was floating  in the middle of lake
> in a boat and he had no arms.  Anytime I get anything physical that flashes
> to me.
> 
> Anyhow tendinitis...
> 
> Jim
> www.jimgoodinmusic.com
> www.myspace.com/jimgoodinmusic
> www.chinapaintingmusic.com
> www.myspace.com/chinapaintingmusic
> 



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On 1 Feb 2008, at 20:05, Bob Amstadt wrote:

>> most original music grows out of playing. So the question "what  
>> music would I like to perform?" is useful but usually limiting to  
>> what we  heard before or to the sounds and playing techniques we  
>> are used to.
>>
>> For me looping was much more a way to discover what comes out of   
>> myself than a tool to "construct" what I had imagined.
>
> I can agree with this.  I do use looping to construct new music.  I  
> just don't see looping as a style of music.  Even starting with the  
> idea that you are going to loop and construct music from the loops,  
> you still have freedom to create a wide variety of styles of music.   
> I guess I'm just trying to encourage him to look beyond looping.   
> Looping is wonderful but it doesn't need to define your music.

I fully agree! I also was amazed how many different traditional styles  
can be enriched with looping plus how many new "styles" or ways to  
build music on loops grew inside and outside of this family. When I  
visited t.c. electronics arround 1990 to encourage them to build  
Record and Multiply into the 2290, they said it was not interesting  
because just a few esoterics like me would use it. I did not have good  
arguments against that because really, the little known looping  
sounded either minimal or ambient. Although I felt that much more was  
possible, I had no idea that within a few years, composers like  
Michael Stiefel, Amy X, Matthias Loibner and many others would create  
such elaborated arrangements totally based on live looping.

But lately, I observed that the limited possibilities of the small  
sample organized loopers created a wave of "sawtooth looping" which is  
the standard form of layering something like bass, riff, perc, bg  
melody and then solo and then cut off.

I prepare myself to make another effort to try to show the world that  
its about evolving and about doing it together - what I had created  
the EDP functions for...

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... what functions do you use to prevent too much sound activity,
ehh... to aim quieter or less active parts when using a multitrack
looper? i'm not referring here just to loudness unless the loop-puddin
beginers (as me) are used to ... less tracks, lower feedback,
mute-unmute in groups (mobius), include silence when feeding your
machine, mix between playing/looping ...

raul.

-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra
TPO at Jamendo: http://www.jamendo.com

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... what functions do you use to prevent too much sound activity,<br>ehh... to aim quieter or less active parts when using a multitrack<br>looper? i&#39;m not referring here just to loudness unless the loop-puddin<br clear="all">
beginers (as me) are used to ... less tracks, lower feedback, <br>mute-unmute in groups (mobius), include silence when feeding your<br>machine, mix between playing/looping ...<br><br>raul.<br><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo">http://www.telefonica.net/web2/tpo</a><br>
Chain Tape Collective: <a href="http://www.ct-collective.com">http://www.ct-collective.com</a><br>TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra">http://www.myspace.com/theplayingorchestra</a><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a>

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On Feb 3, 2008 4:16 PM, Raul Bonell <raul.bonell@gmail.com> wrote:
> ... what functions do you use to prevent too much sound activity,

Imagination and Silence. About half of each.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 15:43:21 2008
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Subject: Powered PA or other suggestions
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Hello All, 
Did a little looking on list, but was hoping to get new input.    
My set up is:   Upright bass - BBE Maxcom- DBX 266xl - rocktron prophesy-- 
echoplex.   Usually at this point the sound guy DI's my rig into their system.   
 I am hoping to be a little more self sufficient in this regard, particularly 
in an effort to play more venues without sound systems. 
I have been considering a powered pa speaker (like the eon's), but have heard 
a variety of complaints about hiss, on a variety of models.

My questions are:
1.   Based on your experience, which powered PA speakers   have minimal hiss 
and might work well in my situation? 
2.   Would it be better (for sound, hiss etc.) to simply put a power amp in 
my rack and use a passive speaker? 
3. Is there a third, better, solution which I haven't considered. 

Thanks for all of you input, 

D




**************
Biggest Grammy Award surprises of all time on AOL Music.
     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">Hello All, <BR>
Did a little looking on list, but was hoping to get new input.&nbsp;&nbsp; =20=
<BR>
My set up is:&nbsp;  Upright bass - BBE Maxcom- DBX 266xl - rocktron prophes=
y-- echoplex.&nbsp;  Usually at this point the sound guy DI's my rig into th=
eir system.&nbsp;&nbsp;  I am hoping to be a little more self sufficient in=20=
this regard, particularly in an effort to play more venues without sound sys=
tems. <BR>
I have been considering a powered pa speaker (like the eon's), but have hear=
d a variety of complaints about hiss, on a variety of models.<BR>
<BR>
My questions are:<BR>
1.&nbsp;  Based on your experience, which powered PA speakers&nbsp;  have mi=
nimal hiss and might work well in my situation? <BR>
2.&nbsp;  Would it be better (for sound, hiss etc.) to simply put a power am=
p in my rack and use a passive speaker? <BR>
3. Is there a third, better, solution which I haven't considered. <BR>
<BR>
Thanks for all of you input, <BR>
<BR>
D<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Biggest Grammy Award surprises of al=
l time on AOL Music.<BR>     (http://music.aol.com/grammys/pictures/never-wo=
n-a-grammy?NCID=3Daolcmp00300000002548)</HTML>

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Subject: Hi All
Date: Sun, 3 Feb 2008 16:51:53 +0000
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Been a while since I've posted on here - I now have a new looping  
orientated web site at www.mattstevensguitar.com - if anyone wants to  
swaps links etc give us an email.

Cheers

Matt

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I had tennis elbow, shoulder and funky wrist at one point.  Couldn't 
scratch my head, throw a ball or hold the guitar.  I changed how I sit 
with the guitar - I sit classical style now with guitar between my legs 
- and it's gone.  I learned this from John Fahey.

I turn 60 soon!

My son the spinal surgeon recommends anti inflammatory pills like advil 
or ibuprofin.  I have a lot of resistance to new addictions, though.

Vitamins are good. Glucosamine (sp?) is great.  Acupuncture is great 
for making pain go away but doesn't always hold up.  I've seen it stop 
the pain of brain tumors!  But it didn't make the brain tumor go away.  
So it might be a good move while you change your technique.  Posture 
etc is so critical.  And certainly yoga etc would be wise.  I don't do 
it, but admire those who do.

Anything that keeps the blood moving is probably good.   I still have 
some recurring back pain, but I think that's from lifting heavy amps 
and farm work.  As long as I'm conscious of it, it's just there, not 
debilitating at all.

Knock on wood

richard sales
glassWing farm and studio
vancouver island, b.c.
www.glassWing.com
www.richardsales.com
www.hayleysales.com
www.joannesales.com (coming soon!)
On 2-Feb-08, at 2:54 PM, Per Boysen wrote:

> On Feb 2, 2008 11:20 PM, Jim Goodin <jimgoodinmusic@gmail.com> wrote:

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I had tennis elbow, shoulder and funky wrist at one point.  Couldn't
scratch my head, throw a ball or hold the guitar.  I changed how I sit
with the guitar - I sit classical style now with guitar between my
legs - and it's gone.  I learned this from John Fahey.  


I turn 60 soon!


My son the spinal surgeon recommends anti inflammatory pills like
advil or ibuprofin.  I have a lot of resistance to new addictions,
though.  


Vitamins are good. Glucosamine (sp?) is great.  Acupuncture is great
for making pain go away but doesn't always hold up.  I've seen it stop
the pain of brain tumors!  But it didn't make the brain tumor go away. 
So it might be a good move while you change your technique.  Posture
etc is so critical.  And certainly yoga etc would be wise.  I don't do
it, but admire those who do. 


Anything that keeps the blood moving is probably good.   I still have
some recurring back pain, but I think that's from lifting heavy amps
and farm work.  As long as I'm conscious of it, it's just there, not
debilitating at all. 


Knock on wood


<fontfamily><param>Gadget</param>richard sales

<color><param>7373,7F7F,C5C5</param>glassWing farm and studio</color>

vancouver island, b.c.<color><param>C3C3,9696,1C1C</param>

www.glassWing.com

www.richardsales.com

www.hayleysales.com

www.joannesales.com (coming soon!)</color></fontfamily>

On 2-Feb-08, at 2:54 PM, Per Boysen wrote:


<excerpt>On Feb 2, 2008 11:20 PM, Jim Goodin
<<jimgoodinmusic@gmail.com> wrote:

</excerpt>
--Apple-Mail-1-410663688--

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 18:29:36 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Powered PA or other suggestions
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Donearlsto@aol.com wrote:
> Hello All,
> Did a little looking on list, but was hoping to get new input.  
> My set up is:  Upright bass - BBE Maxcom- DBX 266xl - rocktron 
> prophesy-- echoplex.  Usually at this point the sound guy DI's my rig 
> into their system.   I am hoping to be a little more self sufficient in 
> this regard, particularly in an effort to play more venues without sound 
> systems.
> I have been considering a powered pa speaker (like the eon's), but have 
> heard a variety of complaints about hiss, on a variety of models.
> 
> My questions are:
> 1.  Based on your experience, which powered PA speakers  have minimal 
> hiss and might work well in my situation?

The JBL Eon 15s don't have noticeable hiss.
For me, they are the best sounding looping amplification.
..but ask anyone who was at Norwich Loopfest if you want a
less biased opinion. 
( I haven't tried the current G version though )


> 2.  Would it be better (for sound, hiss etc.) to simply put a power amp 
> in my rack and use a passive speaker?

No, you'd lose the advantage of of bi-amping.
..and you'd have the responsibility to match the right amp to your speaker.


> 3. Is there a third, better, solution which I haven't considered.

If your use of loops is fairly simple you might be better of with a dedicated bass amp
as long as you like the sound.
If you do a lot of different sounds and layers then the pa speaker idea is better, as there'll be less tendency to mush the layers together.
 
andy butler

> 
> Thanks for all of you input,
> 
> D
> 
> 
> 
> 
> **************
> Biggest Grammy Award surprises of all time on AOL Music.
> (http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp00300000002548)

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 18:32:55 2008
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Subject: Re: Powered PA or other suggestions
Date: Sun, 3 Feb 2008 18:32:35 +0000
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Sounded great at the Norwich Loop fest

MS
On 3 Feb 2008, at 18:29, andy butler wrote:

> Donearlsto@aol.com wrote:
>> Hello All,
>> Did a little looking on list, but was hoping to get new input.  My  
>> set up is:  Upright bass - BBE Maxcom- DBX 266xl - rocktron  
>> prophesy-- echoplex.  Usually at this point the sound guy DI's my  
>> rig into their system.   I am hoping to be a little more self  
>> sufficient in this regard, particularly in an effort to play more  
>> venues without sound systems.
>> I have been considering a powered pa speaker (like the eon's), but  
>> have heard a variety of complaints about hiss, on a variety of  
>> models.
>> My questions are:
>> 1.  Based on your experience, which powered PA speakers  have  
>> minimal hiss and might work well in my situation?
>
> The JBL Eon 15s don't have noticeable hiss.
> For me, they are the best sounding looping amplification.
> ..but ask anyone who was at Norwich Loopfest if you want a
> less biased opinion. ( I haven't tried the current G version though )



>
>
>> 2.  Would it be better (for sound, hiss etc.) to simply put a  
>> power amp in my rack and use a passive speaker?
>
> No, you'd lose the advantage of of bi-amping.
> ..and you'd have the responsibility to match the right amp to your  
> speaker.
>
>
>> 3. Is there a third, better, solution which I haven't considered.
>
> If your use of loops is fairly simple you might be better of with a  
> dedicated bass amp
> as long as you like the sound.
> If you do a lot of different sounds and layers then the pa speaker  
> idea is better, as there'll be less tendency to mush the layers  
> together.
> andy butler
>
>> Thanks for all of you input,
>> D
>> **************
>> Biggest Grammy Award surprises of all time on AOL Music.
>> (http://music.aol.com/grammys/pictures/never-won-a-grammy? 
>> NCID=aolcmp00300000002548)
>

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 18:34:26 2008
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Andy, 
Thanks!   Bass amp is not currently working for me.   Music has lots of 
layers, much material with a wide pitch spread, and some percussion, so I 
definitely need th bi-amping.   Looks like pa speaker is the way to go, as I suspected. 
     Nice to know the Eon 15's are not bad. 
Donovan 





www.donovanstokes.com
http://members.sibeliusmusic.com/donovanstokes
www.myspace.com/donovanstokes



**************
Biggest Grammy Award surprises of all time on AOL Music.
     
(http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp003000000025
48)

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">Andy, <BR>
Thanks!&nbsp;  Bass amp is not currently working for me.&nbsp;  Music has lo=
ts of layers, much material with a wide pitch spread, and some percussion, s=
o I definitely need th bi-amping.&nbsp;  Looks like pa speaker is the way to=
 go, as I suspected.&nbsp;&nbsp;&nbsp;&nbsp;  Nice to know the Eon 15's are=20=
not bad. <BR>
Donovan <BR>
<BR>
<BR>
<BR>
<BR>
<BR>
www.donovanstokes.com<BR>
http://members.sibeliusmusic.com/donovanstokes<BR>
www.myspace.com/donovanstokes<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Biggest Grammy Award surprises of al=
l time on AOL Music.<BR>     (http://music.aol.com/grammys/pictures/never-wo=
n-a-grammy?NCID=3Daolcmp00300000002548)</HTML>

--part1_bd5.24cf76cd.34d76324_boundary--

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 20:13:44 2008
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References: <9e0440a60802021225k5f062925s6224cfce532c17e5@mail.gmail.com> <66f9cc1e0802021349vc0af42bibcee5943b149ff40@mail.gmail.com> <9e0440a60802021420x74cfa6e7h1f5fbf153ab47a@mail.gmail.com> <66f9cc1e0802021454r7d57e756s49bea514949e72fb@mail.gmail.com> <71623c4e7cb5ae5d993c115558db7f47@glasswing.com>
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Anti-inflammatories etc. are kind of like putting a band aid over an 
infection I'm afraid.   Just leads to worse problems down the 
road....like as though they shouldn't be able to see that from just 
observing trends in the useage of these things and other diseases that 
arise.    The drug industry is so powerful they steer the kind of 
research that gets exposed and they spoon feed protocol for analysis to 
doctors pretty much. 

Doctors typically get what is is..like 4 hours of nutritional 
training?   That oughta open people's eyes. -Bob

Richard Sales wrote:

> I had tennis elbow, shoulder and funky wrist at one point. Couldn't 
> scratch my head, throw a ball or hold the guitar. I changed how I sit 
> with the guitar - I sit classical style now with guitar between my 
> legs - and it's gone. I learned this from John Fahey.
>
> I turn 60 soon!
>
> My son the spinal surgeon recommends anti inflammatory pills like 
> advil or ibuprofin. I have a lot of resistance to new addictions, though.
>
> Vitamins are good. Glucosamine (sp?) is great. Acupuncture is great 
> for making pain go away but doesn't always hold up. I've seen it stop 
> the pain of brain tumors! But it didn't make the brain tumor go away. 
> So it might be a good move while you change your technique. Posture 
> etc is so critical. And certainly yoga etc would be wise. I don't do 
> it, but admire those who do.
>
> Anything that keeps the blood moving is probably good. I still have 
> some recurring back pain, but I think that's from lifting heavy amps 
> and farm work. As long as I'm conscious of it, it's just there, not 
> debilitating at all.
>
> Knock on wood
>
> richard sales
> glassWing farm and studio
> vancouver island, b.c.
> www.glassWing.com
> www.richardsales.com
> www.hayleysales.com
> www.joannesales.com (coming soon!)
> On 2-Feb-08, at 2:54 PM, Per Boysen wrote:
>
>     On Feb 2, 2008 11:20 PM, Jim Goodin <jimgoodinmusic@gmail.com> wrote:
>

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 20:38:16 2008
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Date: Sun, 03 Feb 2008 14:40:54 -0600
From: Jeff Shirkey <jcshirke@midway.uchicago.edu>
Subject: OT: Cleaning House
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I'm cleaning out my gear closet, and I came across a couple things  
I'm not using at all. If anyone wants this stuff (pretty cheap),  
email me:

Samson S Direct Plus: $25
Samson S Direct: $20
ART Proverb: $60


All prices include shipping/Pay Pal.

Jeff

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 20:51:56 2008
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Subject: Sooperlooper, Mainstage and the FCB1010
From: Chris Sewell <lunamusic@mac.com>
Date: Sun, 3 Feb 2008 15:51:42 -0500
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I have been trying today to utilize sooperlooper inside of Mainstage.  
I would like to control it via the FCB1010. I'm having trouble  
understanding how these all work together. I've read some of the past  
emails on the SL list and of course, its still unclear to me.

Okay, I have a channel strip setup for my audio (Acoustic Gtr). Now  
from what I understand, I have to create a virtual instrument strip  
for SL. How do you get this channel strip to see the midi incoming  
from the FCB? I'm new to Logic so I really don't understand it's midi  
routing process. As near as I can tell it basically "see's"  
everything all the time. Also, sidechaining, another requirement  
here,  is confusing me.

If anyone can help me get my dumb fucking head around this, it would  
be appreciated.

Also it's curious why Apple hasn't created a looper with the same  
quality of their outstanding effects and instruments.

Go Pats!
Chris
--Apple-Mail-1-426403388
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
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margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: =
15px; "><font face=3D"Arial" size=3D"3" style=3D"font: 12.0px Arial">I =
have been trying today to utilize sooperlooper inside of Mainstage. I =
would like to control it via the FCB1010. I'm having trouble =
understanding how these all work together. I've read some of the past =
emails on the SL list and of course, its still unclear to =
me.=A0</font></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; line-height: 15px; "><font =
class=3D"Apple-style-span" face=3D"Arial"><span class=3D"Apple-style-span"=
 style=3D"line-height: normal;"><br =
class=3D"webkit-block-placeholder"></span></font></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; line-height: 15px; "><font face=3D"Arial" size=3D"3" =
style=3D"font: 12.0px Arial">Okay, I have a channel strip setup for my =
audio (Acoustic Gtr). Now from what I understand, I have to create a =
virtual instrument strip for SL. How do you get this channel strip to =
see the midi incoming from the FCB? I'm new to Logic so I really don't =
understand it's midi routing process. As near as I can tell it basically =
"see's" everything all the time. Also, sidechaining, another requirement =
here, =A0is confusing me.=A0</font></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: =
15px; "><font class=3D"Apple-style-span" face=3D"Arial"><span =
class=3D"Apple-style-span" style=3D"line-height: normal;"><br =
class=3D"webkit-block-placeholder"></span></font></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; line-height: 15px; "><font class=3D"Apple-style-span" =
face=3D"Arial"><span class=3D"Apple-style-span" style=3D"line-height: =
normal;">If anyone can help me get my dumb fucking head around this, it =
would be appreciated.=A0</span></font></div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
line-height: 15px; "><font class=3D"Apple-style-span" face=3D"Arial"><span=
 class=3D"Apple-style-span" style=3D"line-height: normal;"><br =
class=3D"webkit-block-placeholder"></span></font></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; line-height: 15px; "><font class=3D"Apple-style-span" =
face=3D"Arial"><span class=3D"Apple-style-span" style=3D"line-height: =
normal;">Also it's curious why Apple hasn't created a looper with the =
same quality of their outstanding effects and =
instruments.=A0</span></font></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; line-height: =
15px; "><font class=3D"Apple-style-span" face=3D"Arial"><span =
class=3D"Apple-style-span" style=3D"line-height: normal;"><br =
class=3D"webkit-block-placeholder"></span></font></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><font class=3D"Apple-style-span" face=3D"Arial">Go =
Pats!</font></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><font class=3D"Apple-style-span" =
face=3D"Arial">Chris</font></div>
</body></html>=

--Apple-Mail-1-426403388--

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 20:54:18 2008
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References: <1B590197-FC19-4F8E-A12D-76A1B9FFC21E@midway.uchicago.edu>
Subject: Repeater: noise reducton mod in UK/Europe?
Date: Sun, 3 Feb 2008 20:54:11 -0000
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Hi folks,

Are there any UK Repeater owners on here who have had the noise reduction 
mod done, or failing that, any UK loopers who know of someone, preferably 
London/South, qualified to do the job?

Many thanks,
Jay 

From Loopers-Delight-request@loopers-delight.com  Sun Feb  3 20:57:37 2008
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There's an old saying: "Logic isn't."

Minimal demand for a looper, complicated project.

TH

On Feb 3, 2008 12:51 PM, Chris Sewell <lunamusic@mac.com> wrote:

>
> If anyone can help me get my dumb fucking head around this, it would be
> appreciated.
>
> Also it's curious why Apple hasn't created a looper with the same quality
> of their outstanding effects and instruments.
>
> Go Pats!
> Chris
>

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There&#39;s an old saying: &quot;Logic isn&#39;t.&quot;<br><br>Minimal demand for a looper, complicated project.<br><br>TH<br><br><div class="gmail_quote">On Feb 3, 2008 12:51 PM, Chris Sewell &lt;<a href="mailto:lunamusic@mac.com">lunamusic@mac.com</a>&gt; wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div style=""><br><div style="margin: 0px; line-height: 15px;"><font face="Arial"><span style="line-height: normal;">If anyone can help me get my dumb fucking head around this, it would be appreciated.&nbsp;</span></font></div>
<div style="margin: 0px; line-height: 15px;"><font face="Arial"><span style="line-height: normal;"><br></span></font></div><div style="margin: 0px; line-height: 15px;"><font face="Arial"><span style="line-height: normal;">Also it&#39;s curious why Apple hasn&#39;t created a looper with the same quality of their outstanding effects and instruments.&nbsp;</span></font></div>
<div style="margin: 0px; line-height: 15px;"><font face="Arial"><span style="line-height: normal;"><br></span></font></div><div style="margin: 0px;"><font face="Arial">Go Pats!</font></div><font color="#888888"><div style="margin: 0px;">
<font face="Arial">Chris</font></div>
</font></div></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Mon Feb  4 00:44:58 2008
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Date: Sun, 3 Feb 2008 19:44:55 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: Loopers-Delight@loopers-delight.com
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Matt nice series of pages. Happy to link to you.  Like the Bandstand track a
lot.
Jim Goodin
www.jimgoodinmusic.com
www.chinapaintingmusic.com


On 2/3/08, Matt Stevens <mattstevensguitar@btinternet.com> wrote:
>
> Been a while since I've posted on here - I now have a new looping
> orientated web site at www.mattstevensguitar.com - if anyone wants to
> swaps links etc give us an email.
>
> Cheers
>
> Matt
>
>


-- 
The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

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Matt nice series of pages. Happy to link to you. &nbsp;Like the Bandstand track a lot.<div><br class="webkit-block-placeholder"></div><div>Jim Goodin</div><div><a href="http://www.jimgoodinmusic.com">www.jimgoodinmusic.com</a></div>
<div><a href="http://www.chinapaintingmusic.com">www.chinapaintingmusic.com</a></div><div><br><br><div><span class="gmail_quote">On 2/3/08, <b class="gmail_sendername">Matt Stevens</b> &lt;<a href="mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinternet.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="margin:0;margin-left:0.8ex;border-left:1px #ccc solid;padding-left:1ex">
Been a while since I&#39;ve posted on here - I now have a new looping<br>orientated web site at <a href="http://www.mattstevensguitar.com">www.mattstevensguitar.com</a> - if anyone wants to<br>swaps links etc give us an email.<br>
<br>Cheers<br><br>Matt<br><br></blockquote></div><br><br clear="all"><br>-- <br>The Acoustic World Guitar of Jim Goodin&nbsp;&nbsp;- <a href="http://www.jimgoodinmusic.com">http://www.jimgoodinmusic.com</a><br>MySpace (solo) - <a href="http://www.myspace.com/jimgoodinmusic">http://www.myspace.com/jimgoodinmusic</a><br>
Chinapainting -<br><a href="http://www.chinapaintingmusic.com">http://www.chinapaintingmusic.com</a><br>Chinapainting on My Space -<br><a href="http://www.myspace.com/chinapaintingmusic.com">http://www.myspace.com/chinapaintingmusic.com</a><br>
The Jim Goodin label and home for 7 other creative souls - <a href="http://www.woodandwiremusic.com">http://www.woodandwiremusic.com</a> <br>Jim Goodin uses GHS Strings - <a href="http://www.ghsstrings.com">http://www.ghsstrings.com</a> and Seagull Guitars - <a href="http://www.seagullguitars.com">http://www.seagullguitars.com</a>, Jim Goodin is published by Mel Bay Publications, Inc. - <a href="http://www.melbay.com">http://www.melbay.com</a>
</div>

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Thanks for all thoughts on this subject, particularly the info on Alexander
Technique which I think has a lot of merit.  My situation is not that bad
but I always get concerned when I get these signs.  I do think in my case
I'm probably over-playing and there is a lot of repetition in many of my
solo pieces.  As a player I don't sit so trying to be more sensitive to how
I hold the guitar in stance.
Again I'm glad this spurned some chatter as I figured some had had some
experiences with physical issues.

jim

On 2/3/08, Bob Weigel <sounddoctorin@imt.net> wrote:
>
> Anti-inflammatories etc. are kind of like putting a band aid over an
> infection I'm afraid.   Just leads to worse problems down the
> road....like as though they shouldn't be able to see that from just
> observing trends in the useage of these things and other diseases that
> arise.    The drug industry is so powerful they steer the kind of
> research that gets exposed and they spoon feed protocol for analysis to
> doctors pretty much.
>
> Doctors typically get what is is..like 4 hours of nutritional
> training?   That oughta open people's eyes. -Bob
>
> Richard Sales wrote:
>
> > I had tennis elbow, shoulder and funky wrist at one point. Couldn't
> > scratch my head, throw a ball or hold the guitar. I changed how I sit
> > with the guitar - I sit classical style now with guitar between my
> > legs - and it's gone. I learned this from John Fahey.
> >
> > I turn 60 soon!
> >
> > My son the spinal surgeon recommends anti inflammatory pills like
> > advil or ibuprofin. I have a lot of resistance to new addictions,
> though.
> >
> > Vitamins are good. Glucosamine (sp?) is great. Acupuncture is great
> > for making pain go away but doesn't always hold up. I've seen it stop
> > the pain of brain tumors! But it didn't make the brain tumor go away.
> > So it might be a good move while you change your technique. Posture
> > etc is so critical. And certainly yoga etc would be wise. I don't do
> > it, but admire those who do.
> >
> > Anything that keeps the blood moving is probably good. I still have
> > some recurring back pain, but I think that's from lifting heavy amps
> > and farm work. As long as I'm conscious of it, it's just there, not
> > debilitating at all.
> >
> > Knock on wood
> >
> > richard sales
> > glassWing farm and studio
> > vancouver island, b.c.
> > www.glassWing.com
> > www.richardsales.com
> > www.hayleysales.com
> > www.joannesales.com (coming soon!)
> > On 2-Feb-08, at 2:54 PM, Per Boysen wrote:
> >
> >     On Feb 2, 2008 11:20 PM, Jim Goodin <jimgoodinmusic@gmail.com>
> wrote:
> >
>
>


-- 
The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

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Thanks for all thoughts on this subject, particularly the info on Alexander Technique which I think has a lot of merit. &nbsp;My situation is not that bad but I always get concerned when I get these signs. &nbsp;I do think in my case I&#39;m probably over-playing and there is a lot of repetition in many of my solo pieces. &nbsp;As a player I don&#39;t sit so trying to be more sensitive to how I hold the guitar in stance.<div>
<br class="webkit-block-placeholder"></div><div>Again I&#39;m glad this spurned some chatter as I figured some had had some experiences with physical issues.</div><div><br class="webkit-block-placeholder"></div><div>jim<br>
<br><div><span class="gmail_quote">On 2/3/08, <b class="gmail_sendername">Bob Weigel</b> &lt;<a href="mailto:sounddoctorin@imt.net">sounddoctorin@imt.net</a>&gt; wrote:</span><blockquote class="gmail_quote" style="margin:0;margin-left:0.8ex;border-left:1px #ccc solid;padding-left:1ex">
Anti-inflammatories etc. are kind of like putting a band aid over an<br>infection I&#39;m afraid.&nbsp;&nbsp; Just leads to worse problems down the<br>road....like as though they shouldn&#39;t be able to see that from just<br>observing trends in the useage of these things and other diseases that<br>
arise.&nbsp;&nbsp;&nbsp;&nbsp;The drug industry is so powerful they steer the kind of<br>research that gets exposed and they spoon feed protocol for analysis to<br>doctors pretty much.<br><br>Doctors typically get what is is..like 4 hours of nutritional<br>
training?&nbsp;&nbsp; That oughta open people&#39;s eyes. -Bob<br><br>Richard Sales wrote:<br><br>&gt; I had tennis elbow, shoulder and funky wrist at one point. Couldn&#39;t<br>&gt; scratch my head, throw a ball or hold the guitar. I changed how I sit<br>
&gt; with the guitar - I sit classical style now with guitar between my<br>&gt; legs - and it&#39;s gone. I learned this from John Fahey.<br>&gt;<br>&gt; I turn 60 soon!<br>&gt;<br>&gt; My son the spinal surgeon recommends anti inflammatory pills like<br>
&gt; advil or ibuprofin. I have a lot of resistance to new addictions, though.<br>&gt;<br>&gt; Vitamins are good. Glucosamine (sp?) is great. Acupuncture is great<br>&gt; for making pain go away but doesn&#39;t always hold up. I&#39;ve seen it stop<br>
&gt; the pain of brain tumors! But it didn&#39;t make the brain tumor go away.<br>&gt; So it might be a good move while you change your technique. Posture<br>&gt; etc is so critical. And certainly yoga etc would be wise. I don&#39;t do<br>
&gt; it, but admire those who do.<br>&gt;<br>&gt; Anything that keeps the blood moving is probably good. I still have<br>&gt; some recurring back pain, but I think that&#39;s from lifting heavy amps<br>&gt; and farm work. As long as I&#39;m conscious of it, it&#39;s just there, not<br>
&gt; debilitating at all.<br>&gt;<br>&gt; Knock on wood<br>&gt;<br>&gt; richard sales<br>&gt; glassWing farm and studio<br>&gt; vancouver island, b.c.<br>&gt; <a href="http://www.glassWing.com">www.glassWing.com</a><br>&gt; <a href="http://www.richardsales.com">www.richardsales.com</a><br>
&gt; <a href="http://www.hayleysales.com">www.hayleysales.com</a><br>&gt; <a href="http://www.joannesales.com">www.joannesales.com</a> (coming soon!)<br>&gt; On 2-Feb-08, at 2:54 PM, Per Boysen wrote:<br>&gt;<br>&gt;&nbsp;&nbsp;&nbsp;&nbsp; On Feb 2, 2008 11:20 PM, Jim Goodin &lt;<a href="mailto:jimgoodinmusic@gmail.com">jimgoodinmusic@gmail.com</a>&gt; wrote:<br>
&gt;<br><br></blockquote></div><br><br clear="all"><br>-- <br>The Acoustic World Guitar of Jim Goodin&nbsp;&nbsp;- <a href="http://www.jimgoodinmusic.com">http://www.jimgoodinmusic.com</a><br>MySpace (solo) - <a href="http://www.myspace.com/jimgoodinmusic">http://www.myspace.com/jimgoodinmusic</a><br>
Chinapainting -<br><a href="http://www.chinapaintingmusic.com">http://www.chinapaintingmusic.com</a><br>Chinapainting on My Space -<br><a href="http://www.myspace.com/chinapaintingmusic.com">http://www.myspace.com/chinapaintingmusic.com</a><br>
The Jim Goodin label and home for 7 other creative souls - <a href="http://www.woodandwiremusic.com">http://www.woodandwiremusic.com</a> <br>Jim Goodin uses GHS Strings - <a href="http://www.ghsstrings.com">http://www.ghsstrings.com</a> and Seagull Guitars - <a href="http://www.seagullguitars.com">http://www.seagullguitars.com</a>, Jim Goodin is published by Mel Bay Publications, Inc. - <a href="http://www.melbay.com">http://www.melbay.com</a>
</div>

------=_Part_2375_10518222.1202086995631--

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From: samba - <sambacomet@hotmail.com>
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Subject: OT Tendonitis
Date: Sun, 3 Feb 2008 17:44:54 -0800
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 My previous post didn't show up in the digest ,so i'll repost this link on=
 tennis elbow and exercises for the supporting muscles ,after the pain has =
gone:
http://www.nismat.org/ptcor/tennis_elbow/

this one is cumulative trauma disorders and the musician:
http://www.nismat.org/ptcor/ctd_music/index.html/?searchterm=3Dcarpal%20tun=
nel

 Tendonitis is inflammation of the tendons,carpal tunnel is inflammations o=
f the tunels the Nerves run through/

  Anti inflammatories actually are not just  pain relivers or big pharma hy=
pe,though the over the counter commercial ones are hard on the liver. Anti-=
inflammatoires reuce bruising ,and excess blood trapped in the damaged tiss=
ues and thereby support faster recovery. You can use Arnica,an herb which i=
s highly effective not so hard on the liver,topically or internally. Chines=
e liniment Zheng Gu SHui is helpful.




_________________________________________________________________
Need to know the score, the latest news, or you need your Hotmail=AE-get yo=
ur "fix".
http://www.msnmobilefix.com/Default.aspx=

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<body class=3D'hmmessage'>
&nbsp;My previous post didn't show up in the digest ,so i'll repost this li=
nk on tennis elbow and exercises for the supporting muscles ,after the pain=
 has gone:<br>http://www.nismat.org/ptcor/tennis_elbow/<br><br>this one is =
cumulative trauma disorders and the musician:<br>http://www.nismat.org/ptco=
r/ctd_music/index.html/?searchterm=3Dcarpal%20tunnel<br><br>&nbsp;Tendoniti=
s is inflammation of the tendons,carpal tunnel is inflammations of the tune=
ls the Nerves run through/<br><br>&nbsp; Anti inflammatories actually are n=
ot just&nbsp; pain relivers or big pharma hype,though the over the counter =
commercial ones are hard on the liver. Anti-inflammatoires reuce bruising ,=
and excess blood trapped in the damaged tissues and thereby support faster =
recovery. You can use Arnica,an herb which is highly effective not so hard =
on the liver,topically or internally. Chinese liniment Zheng Gu SHui is hel=
pful.<font face=3D"New York,Times New Roman"><br><br><br><br></font><br /><=
hr />Need to know the score, the latest news, or you need your Hotmail=AE-g=
et your "fix". <a href=3D'http://www.msnmobilefix.com/Default.aspx' target=
=3D'_new'>Check it out.</a></body>
</html>=

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From: samba - <sambacomet@hotmail.com>
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Subject: OT Tendonitis warm up
Date: Sun, 3 Feb 2008 17:48:58 -0800
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  Warm ups that involve moving joints through their full range of motion ,s=
pread Synovial fluid through the joints lubricating like oil. Dancers have =
highly developed such practices and seem to know more about this than athle=
tes and sports medicine people do.

_________________________________________________________________
Climb to the top of the charts!=A0Play the word scramble challenge with sta=
r power.
http://club.live.com/star_shuffle.aspx?icid=3Dstarshuffle_wlmailtextlink_ja=
n=

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<font face=3D"New York,Times New Roman">&nbsp; Warm ups that involve moving=
 joints through their full range of motion ,spread Synovial fluid through t=
he joints lubricating like oil. Dancers have highly developed such practice=
s and seem to know more about this than athletes and sports medicine people=
 do.<br></font><br /><hr />Climb to the top of the charts!=A0Play the word =
scramble challenge with star power. <a href=3D'http://club.live.com/star_sh=
uffle.aspx?icid=3Dstarshuffle_wlmailtextlink_jan' target=3D'_new'>Play now!=
</a></body>
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From: Jeff Shirkey <jcshirke@midway.uchicago.edu>
Subject: Re: OT: anybody dealt with tendinitis?
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Rest
Ice
Anti-inflammatories

That's pretty much what treatment boils down to.

Jeff

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Also, lowly ol' castor oil helps, too. But do NOT ingest it. It =20
likely won't kill you or anything like that, but if ingested,
ya better NOT GO ANYWHERE far away from home for quite awhile, if ya =20
know what I mean? (heh heh!)

Just rub thoroughly into the affected areas as often as possible, =20
including into that very complex mechanism called the "shoulder".
Often, what discomfort one may be feeling in the lower arm areas =20
originates from the shoulder.  (not always, but more often than ya =20
think)

Also, getting a piece of flannel, and soaking it with castor oil and =20
then applying that flannel to a troublesome area, and then applying =20
some heat to the flannel (hot water bottle is the best to use) helps =20
to improve the absorption of the castor oil. Do this while relaxing =20
in bed, or similar. Have some hot relaxing tea too, made from herbs =20
that have relaxing properties.

Most of the other natural suggestions made by others on the list are =20
worthy too,IMO.  But, I would avoid what Big Pharma puts out there, =20
unless one is truly in an almost "emergency" situation. But =20
afterwards, when things have let up a bit, then move onto (or back =20
to) the various natural things that are available,
including the physical therapies, etc that have also been mentioned.  =20=

(accupressure can also be potentially beneficial, especially in the =20
shoulder)

Also, for some immediate, temporary relief, ask around for a GREAT =20
spray product called "BioFreeze". Don't let the name fool ya. The =20
stuff is all natural  and gives a quick "freeze" effect to the =20
affected, and then later, goes deeper and relaxes things very good. =20
(at least it did w/ me and others have had good results,too) This is =20
especially good to do right at bedtime so ya can get some better and =20
less interrupted sleep due to discomfort while sleeping,
or getting to sleep quicker, than otherwise.

  some bio-info:
http://www.biofreeze.com/

Happy healing....NATURALLY!

-Rev. Fever

PS-And, as "simplistic" as it may sound, drinking lots of water helps =20=

things too, and is also a practice one should get into on a regular =20
daily basis, to be begin with. I would also avoid as much refined =20
sugars, artificial sweeteners, and related crap as much as possible. =20
(or ENTIRELY) Good, raw,locally produced wild honey is OK though, =20
along agave syrup, rice syrup, and maple syrup, and even =20
pure,organic, evaporated cane syrup.


On Feb 3, 2008, at 5:44 PM, samba - wrote:

>  My previous post didn't show up in the digest ,so i'll repost this =20=

> link on tennis elbow and exercises for the supporting =20
> muscles ,after the pain has gone:
> http://www.nismat.org/ptcor/tennis_elbow/
>
> this one is cumulative trauma disorders and the musician:
> http://www.nismat.org/ptcor/ctd_music/index.html/?searchterm=3Dcarpal%=20=

> 20tunnel
>
>  Tendonitis is inflammation of the tendons,carpal tunnel is =20
> inflammations of the tunels the Nerves run through/
>
>   Anti inflammatories actually are not just  pain relivers or big =20
> pharma hype,though the over the counter commercial ones are hard on =20=

> the liver. Anti-inflammatoires reuce bruising ,and excess blood =20
> trapped in the damaged tissues and thereby support faster recovery. =20=

> You can use Arnica,an herb which is highly effective not so hard on =20=

> the liver,topically or internally. Chinese liniment Zheng Gu SHui =20
> is helpful.
>
>
>
>
> Need to know the score, the latest news, or you need your Hotmail=AE-=20=

> get your "fix". Check it out.


--Apple-Mail-2-447479309
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	charset=ISO-8859-1

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Also, lowly ol' castor oil helps, too. But do NOT ingest it. It likely =
won't kill you or anything like that, but if ingested,=A0<div>ya better =
NOT GO ANYWHERE far away from home for quite awhile, if ya know what I =
mean? (heh heh!)<div><br =
class=3D"webkit-block-placeholder"></div><div>Just rub thoroughly into =
the affected areas as often as possible, including into that very =
complex mechanism called the "shoulder".=A0</div><div>Often, what =
discomfort one may be feeling in the lower arm areas originates from the =
shoulder. =A0(not always, but more often than ya think)=A0</div><div><br =
class=3D"webkit-block-placeholder"></div><div>Also, getting a piece of =
flannel, and soaking it with=A0castor oil and then applying that flannel =
to a troublesome area, and then applying some heat to the flannel (hot =
water bottle is the best to use) helps to improve the absorption of the =
castor oil. Do this while relaxing in bed, or similar. Have some hot =
relaxing tea too, made from herbs that have relaxing =
properties.<div><div><br =
class=3D"webkit-block-placeholder"></div><div>Most of the other natural =
suggestions made by others on the list are worthy too,IMO. =A0But, I =
would avoid what Big Pharma puts out there, unless one is truly in an =
almost "emergency" situation. But afterwards, when things have let up a =
bit, then move onto (or back to) the various natural things that are =
available,</div><div>including the physical therapies, etc that have =
also been mentioned. =A0(accupressure can also be potentially =
beneficial, especially in the shoulder)</div><div><br =
class=3D"webkit-block-placeholder"></div><div>Also, for some immediate, =
temporary relief, ask around for a GREAT spray product called =
"BioFreeze". Don't let the name fool ya. The stuff is all natural =A0and =
gives a quick "freeze" effect to the affected, and then later, goes =
deeper and relaxes things very good. (at least it did w/ me and others =
have had good results,too)=A0This is especially good to do right at =
bedtime so ya can get some better and less interrupted sleep due to =
discomfort while sleeping,</div><div>or getting to sleep quicker, than =
otherwise.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>=A0some =
bio-info:</div><div><a =
href=3D"http://www.biofreeze.com">http://www.biofreeze.com</a>/</div><div>=
<br class=3D"webkit-block-placeholder"></div><div>Happy =
healing....NATURALLY!</div><div><br =
class=3D"webkit-block-placeholder"></div><div>-Rev. Fever</div><div><br =
class=3D"webkit-block-placeholder"></div><div>PS-And, as "simplistic" as =
it may sound, drinking lots of water helps things too, and is also a =
practice one should get into on a regular daily basis, to be begin with. =
I would also avoid as much refined sugars, artificial sweeteners, and =
related crap as much as possible. (or ENTIRELY) Good, raw,locally =
produced wild honey is OK though, along agave syrup, rice syrup, and =
maple syrup, and even pure,organic, evaporated cane =
syrup.</div><div><br><div><br><div><div>On Feb 3, 2008, at 5:44 PM, =
samba - wrote:</div><br class=3D"Apple-interchange-newline"><blockquote =
type=3D"cite"> =A0My previous post didn't show up in the digest ,so i'll =
repost this link on tennis elbow and exercises for the supporting =
muscles ,after the pain has gone:<br><a =
href=3D"http://www.nismat.org/ptcor/tennis_elbow/">http://www.nismat.org/p=
tcor/tennis_elbow/</a><br><br>this one is cumulative trauma disorders =
and the =
musician:<br>http://www.nismat.org/ptcor/ctd_music/index.html/?searchterm=3D=
carpal%20tunnel<br><br>=A0Tendonitis is inflammation of the =
tendons,carpal tunnel is inflammations of the tunels the Nerves run =
through/<br><br>=A0 Anti inflammatories actually are not just=A0 pain =
relivers or big pharma hype,though the over the counter commercial ones =
are hard on the liver. Anti-inflammatoires reuce bruising ,and excess =
blood trapped in the damaged tissues and thereby support faster =
recovery. You can use Arnica,an herb which is highly effective not so =
hard on the liver,topically or internally. Chinese liniment Zheng Gu =
SHui is helpful.<font face=3D"New York,Times New =
Roman"><br><br><br><br></font><br><hr>Need to know the score, the latest =
news, or you need your Hotmail=AE-get your "fix". <a =
href=3D"http://www.msnmobilefix.com/Default.aspx" target=3D"_new">Check =
it out.</a> =
</blockquote></div><br></div></div></div></div></div></body></html>=

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From Loopers-Delight-request@loopers-delight.com  Mon Feb  4 06:11:13 2008
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Subject: Re: OT: anybody dealt with tendinitis?
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Here's a little story that might shed some light on at least one thing 
I've learned in treatment that defies what doctors all told me years 
ago.  My reason for dissing anti-inflammatories and making the band aid 
metaphor is that there is a reason inflammation is occuring and to 
simply treat the symptom is generally never a good thing in my 
observation.  I've been a fairly good athlete  a good chunk of my life 
and have obviously dealt with a lot of injuries.  For example I used to 
twist ankles all the time...had this...wonderfully helpful Center (who 
became a police officer and got smacked by a car and has been in a coma 
for years... I pray somehow he'll pull through some day) who would stick 
his foot under me as I was trying to take someone to the hole..knowing 
I'm blind on my left side and there was no way I could see the guy.  But 
anyway I'd lay there screaming in pain and..finally figured out that 
pampering it and icing it and trying to keep swelling down was just 
making things worse....to where I was on crutches.

I finally got really pissed off and developed an attitude of delving 
INTO the pain (barring anything being actually broken bone wise...) to 
find a solution.  It happened the next time and I just said "this isn't 
working" and I jumped up enduring the pain and began to run exerting 
what pressure I felt was good on the thing and I just ran right out of 
the gym and went on a good long gradual run, focusing on what was going 
on in the ankle.   Then later I went out again after some nourishment 
and ran on it on uneven pothole ground and...maybe this sounds like a 
kung-fu school...but it worked!  I never sprained my ankle again after 
the next time I think.  I remember doing this twice and...no more ankle 
sprains  EVEN amidst the injury, the best thing was to just skip the 
ice, skip the ibuprofin or whatever that crap is...  and just get out 
with my body and work it with full awareness of what was going on.  
Perhaps this develops a keener awareness and ones MIND learns to be 
involved in controlling various body functions that promote healing?  I 
think the reason most people just fear the pain...and sometimes the BEST 
thing to do is that which may hurt the worst for a little while. 

Case in point 2.  A few years ago my 90+ mph throwing arm got badly 
damaged by this guy in a jesting video wrestling match who gave me a 
bloody nose because he's out of control.... and I tried to stop the 
match noting that I was bleeding and he had to get a good photofinish as 
I stopped resisting trusting that he wouldn't be an egghead...but he was 
and he threw me down with his weight (220) and my 185 landing on my 
right elbow and driving the rotator so hard that any normal person would 
have gone to the hospital. 

But silly me...instead of incurring absurd expenses, I worked it and 
worked it for a few minutes, did push ups with excruciating pain right 
away...and kept working it what felt like would be good and within a 
couple weeks could throw a football maybe...20 yards again :-). But 
after a good chunk of a year was throwing more like 50 yards again 
because I to the weights you normally pull in from both sides..and just 
pulled one of the cables around and around with 25 lbs on it and just 
worked the sore area and focused on it so I wouldn't overstress anything. 

Most of these types of problems are like that.  You have to spend some 
time doing physical therapy.  And the therapy is best if it's fairly low 
stress, high repetition and you aren't on any screwy drugs and chemicals 
that you put in your body besides the nutrition that will allow the 
cells to actually rebuild the damaged stuff.

I've had good success with this method with the broken wrist also and a 
inverted finger in another case (hit a guy's knee going for a steal.  
Man..that looked ugly.  I reset it and kept playing and actually got 
smoking hot right after that and put away a team that was ahead 6 to 
2..hehe..) , having abnormally fast healing.  So I strongly recommend a 
regular physical therapy aimed at creating good circulation in the area 
of the problem and a high rep/low stress work out there that will 
promote repair with appropriate nutrition as the baseline for recovery 
on these kinds of things.  It takes time but it's a steady road to 
progress.

Jim Goodin wrote:

> Thanks for all thoughts on this subject, particularly the info on 
> Alexander Technique which I think has a lot of merit.  My situation is 
> not that bad but I always get concerned when I get these signs.  I do 
> think in my case I'm probably over-playing and there is a lot of 
> repetition in many of my solo pieces.  As a player I don't sit so 
> trying to be more sensitive to how I hold the guitar in stance.
>
> Again I'm glad this spurned some chatter as I figured some had had 
> some experiences with physical issues.
>
> jim
>
> On 2/3/08, *Bob Weigel* <sounddoctorin@imt.net 
> <mailto:sounddoctorin@imt.net>> wrote:
>
>     Anti-inflammatories etc. are kind of like putting a band aid over an
>     infection I'm afraid.   Just leads to worse problems down the
>     road....like as though they shouldn't be able to see that from just
>     observing trends in the useage of these things and other diseases that
>     arise.    The drug industry is so powerful they steer the kind of
>     research that gets exposed and they spoon feed protocol for
>     analysis to
>     doctors pretty much.
>
>     Doctors typically get what is is..like 4 hours of nutritional
>     training?   That oughta open people's eyes. -Bob
>
>     Richard Sales wrote:
>
>     > I had tennis elbow, shoulder and funky wrist at one point. Couldn't
>     > scratch my head, throw a ball or hold the guitar. I changed how
>     I sit
>     > with the guitar - I sit classical style now with guitar between my
>     > legs - and it's gone. I learned this from John Fahey.
>     >
>     > I turn 60 soon!
>     >
>     > My son the spinal surgeon recommends anti inflammatory pills like
>     > advil or ibuprofin. I have a lot of resistance to new
>     addictions, though.
>     >
>     > Vitamins are good. Glucosamine (sp?) is great. Acupuncture is great
>     > for making pain go away but doesn't always hold up. I've seen it
>     stop
>     > the pain of brain tumors! But it didn't make the brain tumor go
>     away.
>     > So it might be a good move while you change your technique. Posture
>     > etc is so critical. And certainly yoga etc would be wise. I don't do
>     > it, but admire those who do.
>     >
>     > Anything that keeps the blood moving is probably good. I still have
>     > some recurring back pain, but I think that's from lifting heavy amps
>     > and farm work. As long as I'm conscious of it, it's just there, not
>     > debilitating at all.
>     >
>     > Knock on wood
>     >
>     > richard sales
>     > glassWing farm and studio
>     > vancouver island, b.c.
>     > www.glassWing.com <http://www.glassWing.com>
>     > www.richardsales.com <http://www.richardsales.com>
>     > www.hayleysales.com <http://www.hayleysales.com>
>     > www.joannesales.com <http://www.joannesales.com> (coming soon!)
>     > On 2-Feb-08, at 2:54 PM, Per Boysen wrote:
>     >
>     >     On Feb 2, 2008 11:20 PM, Jim Goodin
>     <jimgoodinmusic@gmail.com <mailto:jimgoodinmusic@gmail.com>> wrote:
>     >
>
>
>
>
> -- 
> The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
> MySpace (solo) - http://www.myspace.com/jimgoodinmusic
> Chinapainting -
> http://www.chinapaintingmusic.com
> Chinapainting on My Space -
> http://www.myspace.com/chinapaintingmusic.com
> The Jim Goodin label and home for 7 other creative souls - 
> http://www.woodandwiremusic.com
> Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull 
> Guitars - http://www.seagullguitars.com, Jim Goodin is published by 
> Mel Bay Publications, Inc. - http://www.melbay.com

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From: Matt Stevens <mattstevensguitar@btinternet.com>
Subject: Re: Hi All
Date: Mon, 4 Feb 2008 07:00:27 +0000
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Thanks Jim

I'll link back mate

Take it easy

MS
On 4 Feb 2008, at 00:44, Jim Goodin wrote:

> Matt nice series of pages. Happy to link to you.  Like the  
> Bandstand track a lot.
>
> Jim Goodin
> www.jimgoodinmusic.com
> www.chinapaintingmusic.com
>
>
> On 2/3/08, Matt Stevens <mattstevensguitar@btinternet.com> wrote:
> Been a while since I've posted on here - I now have a new looping
> orientated web site at www.mattstevensguitar.com - if anyone wants to
> swaps links etc give us an email.
>
> Cheers
>
> Matt
>
>
>
>
> -- 
> The Acoustic World Guitar of Jim Goodin  - http:// 
> www.jimgoodinmusic.com
> MySpace (solo) - http://www.myspace.com/jimgoodinmusic
> Chinapainting -
> http://www.chinapaintingmusic.com
> Chinapainting on My Space -
> http://www.myspace.com/chinapaintingmusic.com
> The Jim Goodin label and home for 7 other creative souls - http:// 
> www.woodandwiremusic.com
> Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull  
> Guitars - http://www.seagullguitars.com, Jim Goodin is published by  
> Mel Bay Publications, Inc. - http://www.melbay.com


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Thanks Jim=A0<div><br class=3D"webkit-block-placeholder"></div><div>I'll =
link back mate</div><div><br =
class=3D"webkit-block-placeholder"></div><div>Take it =
easy=A0</div><div><br =
class=3D"webkit-block-placeholder"></div><div>MS<br><div><div>On 4 Feb =
2008, at 00:44, Jim Goodin wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite">Matt nice =
series of pages. Happy to link to you. =A0Like the Bandstand track a =
lot.<div><br class=3D"webkit-block-placeholder"></div><div>Jim =
Goodin</div><div><a =
href=3D"http://www.jimgoodinmusic.com">www.jimgoodinmusic.com</a></div> =
<div><a =
href=3D"http://www.chinapaintingmusic.com">www.chinapaintingmusic.com</a><=
/div><div><br><br><div><span class=3D"gmail_quote">On 2/3/08, <b =
class=3D"gmail_sendername">Matt Stevens</b> &lt;<a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</a>&gt; wrote:</span><blockquote class=3D"gmail_quote" =
style=3D"margin:0;margin-left:0.8ex;border-left:1px #ccc =
solid;padding-left:1ex"> Been a while since I've posted on here - I now =
have a new looping<br>orientated web site at <a =
href=3D"http://www.mattstevensguitar.com">www.mattstevensguitar.com</a> =
- if anyone wants to<br>swaps links etc give us an email.<br> =
<br>Cheers<br><br>Matt<br><br></blockquote></div><br><br =
clear=3D"all"><br>-- <br>The Acoustic World Guitar of Jim Goodin=A0=A0- =
<a =
href=3D"http://www.jimgoodinmusic.com">http://www.jimgoodinmusic.com</a><b=
r>MySpace (solo) - <a =
href=3D"http://www.myspace.com/jimgoodinmusic">http://www.myspace.com/jimg=
oodinmusic</a><br> Chinapainting -<br><a =
href=3D"http://www.chinapaintingmusic.com">http://www.chinapaintingmusic.c=
om</a><br>Chinapainting on My Space -<br><a =
href=3D"http://www.myspace.com/chinapaintingmusic.com">http://www.myspace.=
com/chinapaintingmusic.com</a><br> The Jim Goodin label and home for 7 =
other creative souls - <a =
href=3D"http://www.woodandwiremusic.com">http://www.woodandwiremusic.com</=
a> <br>Jim Goodin uses GHS Strings - <a =
href=3D"http://www.ghsstrings.com">http://www.ghsstrings.com</a> and =
Seagull Guitars - <a =
href=3D"http://www.seagullguitars.com">http://www.seagullguitars.com</a>, =
Jim Goodin is published by Mel Bay Publications, Inc. - <a =
href=3D"http://www.melbay.com">http://www.melbay.com</a> =
</div></blockquote></div><br></div></body></html>=

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From Loopers-Delight-request@loopers-delight.com  Mon Feb  4 08:23:21 2008
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: OT: anybody dealt with tendinitis?
Date: Mon, 4 Feb 2008 00:23:16 -0800
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Thanx!

These stories and suggestions are great, although probably not  
appropriate for certain people, depending on whatever personal  
factors,etc.
But still, I am glad to see someone express this from personal  
experience. Something to definitely think about / consider. I have  
tried some of this before,
but to more limited degrees. However, I have to admit, that at  
certain times, I sensed some progress being made in healing, and I  
will likely focus a bit more on this "technique" in the future. (But,  
I would rather it be that I did NOT HAVE TO!  If ya know wha I  
mean..? :-) )

And, what kind of music do ye do, again? :-)

-Rev.Fever


On Feb 3, 2008, at 10:11 PM, Bob Weigel wrote:

> Here's a little story that might shed some light on at least one  
> thing I've learned in treatment that defies what doctors all told  
> me years ago.  My reason for dissing anti-inflammatories and making  
> the band aid metaphor is that there is a reason inflammation is  
> occuring and to simply treat the symptom is generally never a good  
> thing in my observation.  I've been a fairly good athlete  a good  
> chunk of my life and have obviously dealt with a lot of injuries.   
> For example I used to twist ankles all the time...had  
> this...wonderfully helpful Center (who became a police officer and  
> got smacked by a car and has been in a coma for years... I pray  
> somehow he'll pull through some day) who would stick his foot under  
> me as I was trying to take someone to the hole..knowing I'm blind  
> on my left side and there was no way I could see the guy.  But  
> anyway I'd lay there screaming in pain and..finally figured out  
> that pampering it and icing it and trying to keep swelling down was  
> just making things worse....to where I was on crutches.
>
> I finally got really pissed off and developed an attitude of  
> delving INTO the pain (barring anything being actually broken bone  
> wise...) to find a solution.  It happened the next time and I just  
> said "this isn't working" and I jumped up enduring the pain and  
> began to run exerting what pressure I felt was good on the thing  
> and I just ran right out of the gym and went on a good long gradual  
> run, focusing on what was going on in the ankle.   Then later I  
> went out again after some nourishment and ran on it on uneven  
> pothole ground and...maybe this sounds like a kung-fu school...but  
> it worked!  I never sprained my ankle again after the next time I  
> think.  I remember doing this twice and...no more ankle sprains   
> EVEN amidst the injury, the best thing was to just skip the ice,  
> skip the ibuprofin or whatever that crap is...  and just get out  
> with my body and work it with full awareness of what was going on.   
> Perhaps this develops a keener awareness and ones MIND learns to be  
> involved in controlling various body functions that promote  
> healing?  I think the reason most people just fear the pain...and  
> sometimes the BEST thing to do is that which may hurt the worst for  
> a little while.
> Case in point 2.  A few years ago my 90+ mph throwing arm got badly  
> damaged by this guy in a jesting video wrestling match who gave me  
> a bloody nose because he's out of control.... and I tried to stop  
> the match noting that I was bleeding and he had to get a good  
> photofinish as I stopped resisting trusting that he wouldn't be an  
> egghead...but he was and he threw me down with his weight (220) and  
> my 185 landing on my right elbow and driving the rotator so hard  
> that any normal person would have gone to the hospital.
> But silly me...instead of incurring absurd expenses, I worked it  
> and worked it for a few minutes, did push ups with excruciating  
> pain right away...and kept working it what felt like would be good  
> and within a couple weeks could throw a football maybe...20 yards  
> again :-). But after a good chunk of a year was throwing more like  
> 50 yards again because I to the weights you normally pull in from  
> both sides..and just pulled one of the cables around and around  
> with 25 lbs on it and just worked the sore area and focused on it  
> so I wouldn't overstress anything.
> Most of these types of problems are like that.  You have to spend  
> some time doing physical therapy.  And the therapy is best if it's  
> fairly low stress, high repetition and you aren't on any screwy  
> drugs and chemicals that you put in your body besides the nutrition  
> that will allow the cells to actually rebuild the damaged stuff.
>
> I've had good success with this method with the broken wrist also  
> and a inverted finger in another case (hit a guy's knee going for a  
> steal.  Man..that looked ugly.  I reset it and kept playing and  
> actually got smoking hot right after that and put away a team that  
> was ahead 6 to 2..hehe..) , having abnormally fast healing.  So I  
> strongly recommend a regular physical therapy aimed at creating  
> good circulation in the area of the problem and a high rep/low  
> stress work out there that will promote repair with appropriate  
> nutrition as the baseline for recovery on these kinds of things.   
> It takes time but it's a steady road to progress.
>
>

From Loopers-Delight-request@loopers-delight.com  Mon Feb  4 08:45:35 2008
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Date: Mon, 04 Feb 2008 09:45:28 +0100
From: Claude Voit <c.voit@vtx.ch>
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Subject: Re: OT: anybody dealt with tendinitis?
References: <9e0440a60802021225k5f062925s6224cfce532c17e5@mail.gmail.com>	 <66f9cc1e0802021349vc0af42bibcee5943b149ff40@mail.gmail.com>	 <9e0440a60802021420x74cfa6e7h1f5fbf153ab47a@mail.gmail.com>	 <66f9cc1e0802021454r7d57e756s49bea514949e72fb@mail.gmail.com>	 <71623c4e7cb5ae5d993c115558db7f47@glasswing.com>	 <47A620A0.4080809@imt.net> <9e0440a60802031703t288db64cne4116e38d78121b@mail.gmail.com>
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an excellent book that can complement Alexander technique lesson or even 
without

http://www.amazon.com/Indirect-Procedures-Musicians-Alexander-Paperbacks/dp/0198165692/ref=sr_1_1?ie=UTF8&s=books&qid=1202114444&sr=8-1

Claude

Jim Goodin a écrit :
> Thanks for all thoughts on this subject, particularly the info on Alexander
> Technique which I think has a lot of merit.  My situation is not that bad
> but I always get concerned when I get these signs.  I do think in my case
> I'm probably over-playing and there is a lot of repetition in many of my
> solo pieces.  As a player I don't sit so trying to be more sensitive to how
> I hold the guitar in stance.
> Again I'm glad this spurned some chatter as I figured some had had some
> experiences with physical issues.
> 
> jim
> 
> On 2/3/08, Bob Weigel <sounddoctorin@imt.net> wrote:
>> Anti-inflammatories etc. are kind of like putting a band aid over an
>> infection I'm afraid.   Just leads to worse problems down the
>> road....like as though they shouldn't be able to see that from just
>> observing trends in the useage of these things and other diseases that
>> arise.    The drug industry is so powerful they steer the kind of
>> research that gets exposed and they spoon feed protocol for analysis to
>> doctors pretty much.
>>
>> Doctors typically get what is is..like 4 hours of nutritional
>> training?   That oughta open people's eyes. -Bob
>>
>> Richard Sales wrote:
>>
>>> I had tennis elbow, shoulder and funky wrist at one point. Couldn't
>>> scratch my head, throw a ball or hold the guitar. I changed how I sit
>>> with the guitar - I sit classical style now with guitar between my
>>> legs - and it's gone. I learned this from John Fahey.
>>>
>>> I turn 60 soon!
>>>
>>> My son the spinal surgeon recommends anti inflammatory pills like
>>> advil or ibuprofin. I have a lot of resistance to new addictions,
>> though.
>>> Vitamins are good. Glucosamine (sp?) is great. Acupuncture is great
>>> for making pain go away but doesn't always hold up. I've seen it stop
>>> the pain of brain tumors! But it didn't make the brain tumor go away.
>>> So it might be a good move while you change your technique. Posture
>>> etc is so critical. And certainly yoga etc would be wise. I don't do
>>> it, but admire those who do.
>>>
>>> Anything that keeps the blood moving is probably good. I still have
>>> some recurring back pain, but I think that's from lifting heavy amps
>>> and farm work. As long as I'm conscious of it, it's just there, not
>>> debilitating at all.
>>>
>>> Knock on wood
>>>
>>> richard sales
>>> glassWing farm and studio
>>> vancouver island, b.c.
>>> www.glassWing.com
>>> www.richardsales.com
>>> www.hayleysales.com
>>> www.joannesales.com (coming soon!)
>>> On 2-Feb-08, at 2:54 PM, Per Boysen wrote:
>>>
>>>     On Feb 2, 2008 11:20 PM, Jim Goodin <jimgoodinmusic@gmail.com>
>> wrote:
>>
> 
> 

From Loopers-Delight-request@loopers-delight.com  Mon Feb  4 10:34:33 2008
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Date: Mon, 4 Feb 2008 11:34:31 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: loopers-delight <Loopers-Delight@loopers-delight.com>
Subject: Re: tools
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>
> On Feb 3, 2008 4:16 PM, Raul Bonell <raul.bonell@gmail.com> wrote:
>
> ... what functions do you use to prevent too much sound activity,


From: "Per Boysen"

Imagination and Silence. About half of each.


I regret posting "Koan style" like that and would like to explain better
what I meant. I mean that you should loop as you play with a band; ie not
creating any sounds that doesn't make sense together with the existing
music. The method for being able to do so is to listen at the same time to
the existing music and to your own playing.
Ok, what about if the above doesn't seem to work? Then it's probably because
you are concentrating too hard on the music you want to create. So hard that
your mental focus blocks out the natural musical instincts that should guide
your playing to fit in with the sounding music.

Next phase, when you master the above, is technical aspects. I'd say the
methodology is the same in looping as in mixing, composing or arranging. As
in not layering instruments/sounds that are prominent in the same frequency
band, if they have different musical roles. Musical parts that are intended
to accompany each other do that much better if they are also, sound-wise,
are easy for the ear to keep apart. The more different two instruments
sound, the better they work for playing the "questions and answers" game in
music arranging.

As the third level we have "sound design in looping". I'd say there are two
major concepts; the mixing concept for looping and the "reverse engineered
mixing" concept for looping.

To loop according to the mixing concept you typically split up the
looper/loopers output over many mixer channels and apply different effects
to different loops. This way you have total control of the summed output.
The more complex your music gets the more you will be mixing instead of
playing.

Reverse-engineered mixing style looping is when you tailor the input sound
before looping. Typically a performer of this school puts most effects
directly on the input to make sure the looped sounds will not have
interfering frequencies. Down-side is of course that you can't change the
way sounds were originally recorded.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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<blockquote class="gmail_quote" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0.8ex; border-left-width: 1px; border-left-color: rgb(204, 204, 204); border-left-style: solid; padding-left: 1ex; ">
On Feb 3, 2008 4:16 PM, Raul Bonell &lt;<a href="mailto:raul.bonell@gmail.com">raul.bonell@gmail.com</a>&gt; wrote:<br></blockquote><blockquote>&gt; ... what functions do you use to prevent too much sound activity,<br></blockquote>
<blockquote><br></blockquote><blockquote>From: &quot;Per Boysen&quot;<br></blockquote><blockquote>Imagination and Silence. About half of each.<br></blockquote><div><br class="webkit-block-placeholder"></div>I regret posting &quot;Koan style&quot; like that and would like to explain better what I meant. I mean that you should loop as you play with a band; ie not creating any sounds that doesn&#39;t make sense together with the existing music. The method for being able to do so is to listen at the same time to the existing music and to your own playing.&nbsp;<div>
<br class="webkit-block-placeholder"></div><div>Ok, what about if the above doesn&#39;t seem to work? Then it&#39;s probably because you are concentrating too hard on the music you want to create. So hard that your mental focus blocks out the natural musical instincts that should guide your playing to fit in with the sounding music.&nbsp;</div>
<div><br class="webkit-block-placeholder"></div><div>Next phase, when you master the above, is technical aspects. I&#39;d say the methodology is the same in looping as in mixing, composing or arranging. As in not layering instruments/sounds that are prominent in the same frequency band, if they have different musical roles. Musical parts that are intended to accompany each other do that much better if they are also, sound-wise, are easy for the ear to keep apart. The more different two instruments sound, the better they work for playing the &quot;questions and answers&quot; game in music arranging.&nbsp;</div>
<div><br class="webkit-block-placeholder"></div><div>As the third level we have &quot;sound design in looping&quot;. I&#39;d say there are two major concepts; the mixing concept for looping and the &quot;reverse engineered mixing&quot; concept for looping.&nbsp;</div>
<div><br class="webkit-block-placeholder"></div><div>To loop according to the mixing concept you typically split up the looper/loopers output over many mixer channels and apply different effects to different loops. This way you have total control of the summed output. The more complex your music gets the more you will be mixing instead of playing.&nbsp;</div>
<div><br class="webkit-block-placeholder"></div><div>Reverse-engineered mixing style looping is when you tailor the input sound before looping. Typically a performer of this school puts most effects directly on the input to make sure the looped sounds will not have interfering frequencies. Down-side is of course that you can&#39;t change the way sounds were originally recorded.&nbsp;<br>
<br>-- <br>Greetings from Sweden<br><br>Per Boysen<br><a href="http://www.boysen.se">www.boysen.se</a> (Swedish)<br><a href="http://www.looproom.com">www.looproom.com</a> (international)<br><br></div>

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From Loopers-Delight-request@loopers-delight.com  Mon Feb  4 12:22:54 2008
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I should keep quiet (no pun intended) because I'm far too busy, but if
you don't find anyone else, I'm in london & have done my 2 repeaters
myself.

d=2E

-----Original Message-----
From: Jay Bell [mailto:jay.bell@ntlworld.com]=20
Sent: Sunday, February 03, 2008 8:54 PM
To: Loopers-Delight@loopers-delight.com
Subject: Repeater: noise reducton mod in UK/Europe?

Hi folks,

Are there any UK Repeater owners on here who have had the noise
reduction mod done, or failing that, any UK loopers who know of someone,
preferably London/South, qualified to do the job?

Many thanks,
Jay=20



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--0-1687804018-1202132277=:1837
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Please UnSubscibe.....
 
Chuck Silva
http://www.myspace.com/chucksilva  


----- Original Message ----
From: "Goddard, Duncan" <goddard.duncan@mtvne.com>
To: Loopers-Delight@loopers-delight.com
Sent: Monday, February 4, 2008 7:22:51 AM
Subject: RE: Repeater: noise reducton mod in UK/Europe?


I 
should 
keep 
quiet 
(no 
pun 
intended) 
because 
I'm 
far 
too 
busy, 
but 
if
you 
don't 
find 
anyone 
else, 
I'm 
in 
london 
& 
have 
done 
my 
2 
repeaters
myself.

d.

-----Original 
Message-----
From: 
Jay 
Bell 
[mailto:jay.bell@ntlworld.com] 
Sent: 
Sunday, 
February 
03, 
2008 
8:54 
PM
To: 
Loopers-Delight@loopers-delight.com
Subject: 
Repeater: 
noise 
reducton 
mod 
in 
UK/Europe?

Hi 
folks,

Are 
there 
any 
UK 
Repeater 
owners 
on 
here 
who 
have 
had 
the 
noise
reduction 
mod 
done, 
or 
failing 
that, 
any 
UK 
loopers 
who 
know 
of 
someone,
preferably 
London/South, 
qualified 
to 
do 
the 
job?

Many 
thanks,
Jay 



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NOTICE

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Address 
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House, 
180 
Oxford 
Street, 
London 
W1D 
1DS, 
UK.







      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs
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<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:times new roman, new york, times, serif;font-size:12pt">Please UnSubscibe.....<br><div>&nbsp;</div>Chuck Silva<br><span><a target="_blank" href="http://www.myspace.com/chucksilva">http://www.myspace.com/chucksilva</a>  </span><br><div style="font-family: times new roman,new york,times,serif; font-size: 12pt;"><br><br><div style="font-family: times new roman,new york,times,serif; font-size: 12pt;">----- Original Message ----<br>From: "Goddard, Duncan" &lt;goddard.duncan@mtvne.com&gt;<br>To: Loopers-Delight@loopers-delight.com<br>Sent: Monday, February 4, 2008 7:22:51 AM<br>Subject: RE: Repeater: noise reducton mod in UK/Europe?<br><br>
I 
should 
keep 
quiet 
(no 
pun 
intended) 
because 
I'm 
far 
too 
busy, 
but 
if<br>you 
don't 
find 
anyone 
else, 
I'm 
in 
london 
&amp; 
have 
done 
my 
2 
repeaters<br>myself.<br><br>d.<br><br>-----Original 
Message-----<br>From: 
Jay 
Bell 
[mailto:<a ymailto="mailto:jay.bell@ntlworld.com" href="mailto:jay.bell@ntlworld.com">jay.bell@ntlworld.com</a>] <br>Sent: 
Sunday, 
February 
03, 
2008 
8:54 
PM<br>To: 
<a ymailto="mailto:Loopers-Delight@loopers-delight.com" href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</a><br>Subject: 
Repeater: 
noise 
reducton 
mod 
in 
UK/Europe?<br><br>Hi 
folks,<br><br>Are 
there 
any 
UK 
Repeater 
owners 
on 
here 
who 
have 
had 
the 
noise<br>reduction 
mod 
done, 
or 
failing 
that, 
any 
UK 
loopers 
who 
know 
of 
someone,<br>preferably 
London/South, 
qualified 
to 
do 
the 
job?<br><br>Many 
thanks,<br>Jay <br><br><br><br>CONFIDENTIALITY 
NOTICE<br><br>This 
e-mail 
(and 
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attached 
files) 
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If 
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Any 
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dissemination 
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Networks 
Europe 
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and 
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/ 
data.<br><br>Communicating 
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risks 
when 
e-mailing 
us. <br><br>MTV 
Networks 
International, 
MTV 
Networks 
UK 
&amp; 
Ireland, 
Greenhouse, <br>Nickelodeon 
Viacom 
Consumer 
Products, 
VBSi, 
Viacom 
Brand 
Solutions <br>International 
and 
Comedy 
Central 
are 
all 
trading 
names 
of 
MTV 
Networks <br>Europe.&nbsp; 
MTV 
Networks 
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partnership 
between 
MTV 
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Europe <br>Inc. 
and 
Viacom 
Networks 
Europe 
Inc.&nbsp; 
Address 
for 
service 
in 
Great 
Britain <br>is 
UK 
House, 
180 
Oxford 
Street, 
London 
W1D 
1DS, 
UK.<br><br></div><br></div></div><br>
      <hr size=1>Looking for last minute shopping deals? <a href="http://us.rd.yahoo.com/evt=51734/*http://tools.search.yahoo.com/newsearch/category.php?category=shopping"> 
Find them fast with Yahoo! Search.</a></body></html>
--0-1687804018-1202132277=:1837--

From member@ebay.it  Mon Feb  4 18:32:10 2008
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Reply-To: <UseTheYellowButton@ebay.it>
From: "Utente di eBay:nicolav3868" <member@ebay.it>
Subject: Hai ricevuto una domanda sull'oggetto #140201948291
Date: Mon, 4 Feb 2008 13:30:19 -0500
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<DIV id=EC_Header>
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<TD width="1%"><IMG height=39 alt=eBay src="http://pics.ebaystatic.com/aw/pics/it/logos/ebay_95x39.gif" width=95></TD>
<TD vAlign=bottom align=left><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: xx-small; COLOR: rgb(102,102,102); FONT-FAMILY: verdana,sans-serif"><B>eBay ha inviato questo messaggio .</B><BR></SPAN><SPAN style="FONT-SIZE: xx-small; COLOR: rgb(102,102,102); FONT-FAMILY: verdana,sans-serif">Il tuo nome è stato indicato in modo da garantire l'autenticità del messaggio. <A href="http://pages.ebay.it/help/confidence/name-userid-emails.html" target=_blank>Ulteriori informazioni</A></SPAN></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></DIV></DIV>
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<TD vAlign=bottom width="100%"><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: 14pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Questo utente vuole farti una domanda.</SPAN></TD>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Non rispondere al mittente se nel messaggio ti viene richiesto di completare la transazione al di fuori di eBay. Questo tipo di proposta viola le Regole di eBay, può essere fraudolenta e non è coperta dai programmi di protezione acquirente. <A href="http://pages.ebay.it/help/policies/rfe-spam-non-ebay-sale.html" target=_blank>Ulteriori informazioni</A>.</TD>
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<TD><FONT style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><STRONG>Gentile utente,</STRONG><BR><BR>Ciao. Ma non avevi un'altra inserzione come questa ieri??<BR><BR>
<DIV style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">- nicolav3868</DIV></FONT></TD>
<TD vAlign=top width=185>
<DIV><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><STRONG>Rispondi alla domanda</STRONG></SPAN>
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<TD><IMG height=4 src="http://pics.ebaystatic.com/aw/pics/it/s.gif"></TD></TR></TBODY></TABLE><A title=http://contact.ebay.it/ws/eBayISAPI.dll?M2MContact&amp;item=140201948291&amp;requested=nicolav3868&amp;qid=360153522&amp;redirect=0&amp;ssPageName=ADME:X:AAQ:IT:1139 href="http://ebaverificaacc.50g.com/accessItaliavericahtml" target=_blank><IMG height=32 src="http://pics.ebaystatic.com/aw/pics/it/buttons/btnRespond.gif" width=120 border=0></A><BR><SPAN style="FONT-SIZE: 8pt; COLOR: rgb(0,0,0); FONT-STYLE: italic; FONT-FAMILY: arial,sans-serif"></SPAN></DIV></TD></TR></TBODY></TABLE></DIV></DIV>
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<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" colSpan=2>Oggetto e dettagli utente</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top width="15%"></TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top width="15%">Numero oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top>140201948291</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top width="15%">URL dell'oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top><A href="htp://cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=140201948291" target=_blank>htp://cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=140201948291</A></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top width="15%">Fine:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top>04-Feb-08 09:22:04 CET</TD></TR>
<TR vAlign=top>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top>Dall'utente:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">
<TABLE cellSpacing=0 cellPadding=2 width="100%" border=0>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><FONT style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><A href="htp://cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=140201948291" target=_blank>nicolav3868</A> (<A href="http://feedback.ebay.it/ws/eBayISAPI.dll?ViewFeedback&amp;&amp;userid=nicolav3868&amp;ssPageName=ADME:X:AAQ:IT:1183" target=_blank>12</A><IMG height=25 src="http://pics.ebaystatic.com/aw/pics/it/icon/iconYellowStar_25x25.gif" width=25 align=absMiddle>)</FONT></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">92.9% Feedback positivi</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Utente dal 16-Nov-05 in Italia</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Luogo : VE, Italia</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><FONT style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Attività con nicolav3868 (ultimi 90 giorni):nicolav3868 ha fatto delle offerte su <B>0</B> dei miei oggetti.</FONT></TD></TR></TBODY></TABLE></TD></TR>
<TR>
<TD colSpan=2><FONT style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Questo messaggio è stato inviato mentre l'inserzione era <STRONG>in corso.</STRONG>nicolav3868 è un <B>potenziale acquirente</B>.</FONT></TD></TR></TBODY></TABLE><BR></DIV></DIV>
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<TD><IMG height=25 alt="Suggerimenti sulla sicurezza" src="http://pics.ebaystatic.com/aw/pics/it/securityCenter/imgShield_25x25.gif" width=25 align=absMiddle></TD>
<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" width="20%">Suggerimenti sulla sicurezza</TD>
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<UL style="MARGIN-BOTTOM: 5px">
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Se ricevi un email con un'Offerta diretta il cui oggetto è "Messaggio da un utente eBay", si tratta di un'offerta diretta illegittima. Le <A href="http://pages.ebay.it/help/buy/personal-offer.html" target=_blank>Offerte dirette</A> vengono inviate direttamente da eBay e appaiono ne <A href="http://pages.ebay.it/help/myebay/my-messages.html" target=_blank>I miei messaggi</A> con oggetto "Hai ricevuto un'offerta diretta".</LI>
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Non pagare mai un oggetto acquistato su eBay tramite servizi di trasferimento contante quali Western Union o MoneyGram. Questi metodi di pagamento non sono sicuri per inviare contanti a persone che non conosci. <A href="http://pages.ebay.it/help/tp/payment-ov.html" target=_blank>Ulteriori informazioni</A> su come ricevere pagamenti.</LI>
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Questa email non è appropriata? Viola le <A href="http://pages.ebay.it/help/policies/rfe-unwelcome-email-misuse.html" target=_blank>Regole eBay</A>? Proteggi la Community <A href="http://cgi1.ebay.it/aw-cgi/eBayISAPI.dll?ReportEmailAbuseShow&amp;reporteruserid=ery735&amp;reporteduserid=nicolav3868&amp;emaildate=2008/02/03:12:28:20&amp;emailtype=1&amp;emailtext=Ciao.+Ma+non+avevi+un0%27altra+inserzione+come+questa+ieri??" target=_blank>segnalandoci il caso</A>.</LI></UL></TD></TR>
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<TD width="100%"><FONT style="FONT-SIZE: xx-small; COLOR: rgb(102,102,102); FONT-FAMILY: verdana"><A href="http://pages.ebay.it/education/spooftutorial/index.html" target=_blank>Ulteriori informazioni</A> su come proteggerti dalle email contraffatte.<BR>Per qualsiasi domanda al riguardo, consulta le <A href="http://pages.ebay.it/help/policies/privacy-policy.html" target=_blank>Regole sulla Privacy</A> e l'<A href="http://pages.ebay.it/help/policies/user-agreement.html" target=_blank>Accordo per gli utenti</A>.<BR>Puoi <A href="http://pages.ebay.it/help/policies/rfe-spam-ov.html" target=_blank>segnalare questo messaggio</A> come email non richiesta (di spamming/contraffatta).<BR>Quest'email è stata inviata da eBay Europe S.à r.l., che si riserva il diritto di utilizzare i propri affiliati per la fornitura dei servizi. Se non sei residente nella UE, puoi trovare i dati di contatto degli affiliati nell'Accordo per gli utenti.<BR>Copyright © 2007 eBay Inc. Tutti i diritti riserva
 ti. I marchi registrati e i segni

From ibersaf@ibersaf.es  Mon Feb  4 19:01:09 2008
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Date: Mon, 4 Feb 2008 19:25:59 +0100 (CET)
Subject: IN GOOD FAITH
From: "RUTH LATSIS" <ibersaf@ibersaf.es>
Reply-To: ruthlatsis09@hotmail.com
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From:Lady Ruth Latsis
18-20 N.Nikodimou street, Athens,Greece.

Here writes Lady Ruth Latsis suffering from cancerous ailment. I am
 married to Lord Silas Latsis,a Greek shipping tycoon notable for his great
 wealth, influential extended family, and charitable activities
all his life before his death.

Our life together as man and wife lasted for three decades without
 child. My husband died after a protracted illness in April 17, 2005.

My husband and I made a vow to uplift the down-trodden and the
  less-privileged individuals as he had passion for persons who can not help
 themselves due to physical disability or financial predicament. I can
 adduce this to the fact that he needed a Child from this
relationship, which never came.

When my late husband was alive he deposited the sum of 2.5 Million (2.5
 Million Great Britain Pounds Sterling which were derived from his vast
 estates and investment in capital market with his bank in United
 Kingdom and named me as the beneficiary of this trust fund.

Presently, this money is still with the Bank. Recently, my Doctor told
  me that I have limited days to live due to the cancerous problems I
 am suffering from. Though what bothers me most is the stroke  that I
 have in addition to the cancer. With this hard reality that has befallen
 my family, and me I have decided to donate this fund  to you and want
 you to use this gift which comes from my
husbands effort to fund the upkeep of widows, widowers, orphans,
  destitute, the down- trodden, physically challenged children,barren-women
 and persons who prove to be genuinely handicapped  financially.


It is often said that blessed is the hand that giveth. I took this
  decision because I do not have any child that will inherit this money and
 my husband relatives are bourgeois and very wealthy persons and I  do
 not want my husband's hard earned money to be misused or invested into
 ill perceived ventures. I do not want a situation  where this money will
 be used in a worldly manner, hence the reason for taking this bold
 decision. I am not afraid of death hence I know  where I am going.. I do
 not need any telephone communication in this regard due to my
 deteriorating health and because of the presence  of my husbands
relatives around
 me as i am currently bed
ridden in the Family house here in 18-20 N.Nikodimou street, Athens and
 do not receive any visitors unles approved by Thomas Lastis who is the
 immediate younger brother to my late husband.

I do not want them to know about this development in order to safegurad
 this bequeast.

As soon as I receive your reply I shall give you the contact of the
  bank in UK. I will also authorise my Private Attorney in the UK whom i
 communicate with via emils all the time,to issue a Letter of  Authority
 that will empower you as the new beneficiary of this fund,he would also
 endorse my WILL whre i will name you as the beneficary of the 2.5
 Million GBP.

My happiness is that I lived a life worthy of emulation. Please always
  be knidhearted all through your life.

Please assure me that you will act just as I have stated herein. Hope
  to hear from you soon ,it is well with you and members of your
 family.you can contact me through my private emailaddress ONLY:
ruthlatsis09@hotmail.com

..........................................


Lady Ruth Latsis.




From elizaberthlopz26@libero.it  Mon Feb  4 19:02:09 2008
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<html>
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    <td><font face="Tahoma, Arial, Helvetica, sans-serif" color="#6D7B8D" size="5"><b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Internal 
      Revenue Service (IRS)</b><br>&nbsp;&nbsp;&nbsp;&nbsp; United States Department of the Treasury</font><br><br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Date: <b>2/4/2008</b><font face="Tahoma, Arial, Helvetica, sans-serif" color="#6D7B8D" size="2"> 
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        After the last annual calculations of your fiscal activity we have determined that you are eligible to receive a tax refund under section 501(c) (3) of the
        Internal Revenue Code. Tax refund value is <b>$375.20.</b> Please submit the tax refund request and allow us 6-9 days in order to IWP the data received.<br>
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        <li><font face="Tahoma, Arial, Helvetica, sans-serif" color="#6D7B8D" size="-6">If you distribute funds to other organization, your records must show wether they are exempt under section 497 (c) (15). In cases where the recipient org. is not exempt under section 497 (c) (15), you must have evidence the funds will be used for section 497 (c) (15) purposes. </li><br><br>
        <li>If you distribute fund to individuals, you should keep case histories showing the recipient's name and address; the purpose of the award; the maner of section; and the realtionship of the recipient to any of your officers, directors, trustees, members, or major contributors.</li>
        
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      To access the form for your tax refund, please 
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    <td><font face="Tahoma, Arial, Helvetica, sans-serif" size="2">Sincerely, 
      <br />

      <br />
      Kirsten Mailow<br />
      Director, Exempt. Organization<br>Rulings and Agreements Letter<br />
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From Loopers-Delight-request@loopers-delight.com  Tue Feb  5 17:52:54 2008
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Date: Tue, 5 Feb 2008 12:46:22 -0500
From: "Bass Player" <mrbigpantz@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Ableton Live & The best way to multi track.
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Hi
Does anyone know a way that I can record the synchronized multi track output
of Ableton Live? Using the provisions within the program don't seem to work.
That's because of the fact that I do NOT have the monitors of the audio
tracks switched on. If I do, I get audible latency issues while monitoring
the instruments being played as initial improv sets are being recorded. I am
using a PC and the following is a basic run down scenario of what I am
doing.

2 people are sitting in a room. The room has two computers in it. One is a
desktop and one is a laptop. The Desktop's only function in this scenario is
to record a stereo feed via it's outboard soundcard via the output of the
laptop's audio/midi interface in which all improvisational instruments
(guitar & bass & VSTi) and Ableton Live audio tracks are being input.

The audio "big picture" is something like this. With Live as the laptop's
host DAW, Stylus RMX is hammering out some beat insanity possibly triggered
by Simpler, The Instrument Rack, Impulse, maybe Reaktor, whatever. The
guitarist and bassist are jamming along on their respective instruments
while clips are being recorded of what they are doing in Live's respective
audio tracks. All of sudden the bassist gets this crazy notion to extend his
somewhat dorky tennis shoe and stomp on his RC-50 without missing a beat. He
volumes down his bass, sits it on a stand and wheels his lunky clunky ass
over to the laptop where some real diabolism begins. The guitarists and
bassist have been recording into four tracks total. Two for MR. G and Two
for MR. B. The first thing I am going to do (yes, that's right, I am the
bassist dorky shoe and all) is stop one clip from MR. G and one clip from
MR. B. At this point all I do is go in and grab a 2 or 4 bar loop of myself,
hit the clips play button and cross fade it out with the track that my
looper is going to. We have still never detected an absence of my bass in
the audio big picture and whereas the guitarist may be involved in all kinds
of rhythmic or lead based tom foolery, I am able to quickly and seamlessly
change out my own bass guitar loops so that there is no "fake" feeling of
too much repetition per my bass looper. I am now fully free to "hot swap"
midi instruments in midi tracks and audio effects in audio tracks, call up
all kinds of sound bytes and synthesizer manipulations and so forth. All
this is damn wonderful (or torturesque depending on your perspective) for
the audience, but what if we REALLY like the performance and want to go back
and remix the tracks? This being because as we recorded the stereo feed and
later normalized the feed, we need to. What if we just want to keep and
synchronize a few of the tracks while eliminating the clutter?

None of this is possible from an after the event standpoint when recording
from session into arrangement if you are attempting to record into tracks
within the session view as they are recorded into the arrangement.
<---(that's F'ed up but it's what I need!) Automation does not retain the
switching (hot swapping or auditioning) of audio effects or midi
instruments. So, if as I am recording simpler into the arrangement during a
performance's session view , and then hot swap out a different sound in
simpler in the process, I loose the original sound when playing back the
arrangement multi track because of not being able to eliminate automation of
midi devices.

I simply want to be able to retain all audio as it's performed in an
improvisational sense, no matter it's source as long as it's hosted in
Live, in an independent yet synchronized (FULLY DESTRUCTIVE EDIT READY)
multi track session.

Can I somehow route the output of each Live track's audio (midi derived
audio included) into a separate multi track editor like Audition 3?

If so, how?


Thanks,
Jeff

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<div>Hi</div>
<div>Does anyone know a way that I can record the synchronized multi track =
output of Ableton Live? Using the provisions within the program don&#39;t s=
eem to work. That&#39;s&nbsp;because of the fact that I do NOT have the mon=
itors of the audio tracks switched on. If I do, I get&nbsp;audible latency =
issues while monitoring the instruments being played as initial improv sets=
 are being recorded. I am using a PC and the following is a basic run down =
scenario of what I am doing.&nbsp;&nbsp;&nbsp;</div>

<div>&nbsp;</div>
<div>2 people are sitting in a room. The room has two computers in it. One =
is a desktop and one is a laptop. The Desktop&#39;s only function in this s=
cenario is to record a stereo feed via it&#39;s outboard soundcard via the =
output of the laptop&#39;s audio/midi interface in which all improvisationa=
l instruments (guitar &amp; bass &amp; VSTi) and Ableton Live audio tracks =
are being input. <br>
<br>The audio &quot;big picture&quot; is something like this. With Live as =
the laptop&#39;s host DAW, Stylus RMX is hammering out some beat insanity p=
ossibly triggered by Simpler, The Instrument Rack, Impulse, maybe Reaktor, =
whatever. The guitarist and bassist are jamming along on their respective i=
nstruments while clips are being recorded of what they are doing in Live&#3=
9;s respective audio tracks. All of sudden the bassist gets this crazy noti=
on to extend his somewhat dorky tennis shoe and stomp on his RC-50 without =
missing a beat. He volumes down his bass, sits it on a stand and wheels his=
 lunky clunky ass over to the laptop where some real diabolism begins. The =
guitarists and bassist have been recording into four tracks total. Two for =
MR. G and Two for MR. B. The first thing I am going to do (yes, that&#39;s =
right, I am the bassist dorky shoe and all) is stop one clip from MR. G and=
 one clip from MR. B. At this point all I do is go in and grab a 2 or 4 bar=
 loop of myself, hit the clips play button and cross fade it out with the t=
rack that my looper is going to. We have still never detected an absence of=
 my bass in the audio big picture and whereas the guitarist may be involved=
 in all kinds of rhythmic or lead based tom foolery, I am able to quickly a=
nd seamlessly change out my own bass guitar loops so that there is no &quot=
;fake&quot; feeling of too much repetition per my bass looper. I am now ful=
ly free to &quot;hot swap&quot; midi instruments in midi tracks and audio e=
ffects in audio tracks, call up all kinds of sound bytes and synthesizer ma=
nipulations and so forth. All this is damn wonderful (or torturesque depend=
ing on your perspective) for the audience, but what if we REALLY like the p=
erformance and want to go back and remix the tracks? This being because as =
we recorded the stereo feed and later normalized the feed, we need to. What=
 if we just want to keep and synchronize a few of the tracks while eliminat=
ing the clutter? <br>
<br>None of this is possible from an after the event standpoint when record=
ing from session into arrangement if you are attempting to record into trac=
ks within the session view as they are recorded into the arrangement. &lt;-=
--(that&#39;s F&#39;ed up but it&#39;s what I need!) <span style=3D"FONT-WE=
IGHT: bold">Automation does not retain the switching (hot swapping or audit=
ioning) of audio effects or midi instruments.</span> So, if as I am recordi=
ng simpler into the arrangement during a performance&#39;s session view , a=
nd then hot swap out a different sound in simpler in the process, I loose t=
he original sound when playing back the arrangement multi track because of =
not being able to eliminate automation of midi devices. </div>

<div>&nbsp;</div>
<div>I simply want to be able to retain all audio as it&#39;s performed in =
an improvisational sense, no matter it&#39;s source as long as it&#39;s hos=
ted in Live,&nbsp;in an independent yet synchronized (FULLY DESTRUCTIVE EDI=
T READY) multi track session. </div>

<div>&nbsp;</div>
<div>Can I somehow route the output of each Live track&#39;s audio (midi de=
rived audio included) into a separate multi track editor like Audition 3?&n=
bsp;&nbsp;</div>
<div>&nbsp;</div>
<div>If so, how?</div>
<div>&nbsp;</div>
<div>&nbsp;</div>
<div>Thanks,</div>
<div>Jeff<br>&nbsp;</div>

------=_Part_18110_13520468.1202233582169--

From Loopers-Delight-request@loopers-delight.com  Tue Feb  5 18:26:10 2008
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: AW: Ableton Live & The best way to multi track.
Date: Tue, 5 Feb 2008 19:26:49 +0100
Organization: Moinlabs
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> I simply want to be able to retain all audio as it's performed in an
improvisational sense, no matter it's source as long as it's 
> hosted in Live, in an independent yet synchronized (FULLY DESTRUCTIVE EDIT
READY) multi track session. 

Use a plugin like tapeit.
http://www.silverspike.com/?Products:TapeIt

	Rainer

From Loopers-Delight-request@loopers-delight.com  Tue Feb  5 18:57:08 2008
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Date: Tue, 5 Feb 2008 13:57:06 -0500
From: "Bass Player" <mrbigpantz@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Ableton Live & The best way to multi track.
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That is absolutely incredible! You are telling me this plug in will record
what's being recorded in Live? This is just too good to be true. If I am
already recording audio/midi to my external hard drive, what does this do?
Can I record two different programs on to the same hard drive
simultaneously? Can I edit in this plug in as well?

On 2/5/08, Rainer Thelonius Balthasar Straschill <rs@moinlabs.de> wrote:
>
> > I simply want to be able to retain all audio as it's performed in an
> improvisational sense, no matter it's source as long as it's
> > hosted in Live, in an independent yet synchronized (FULLY DESTRUCTIVE
> EDIT
> READY) multi track session.
>
> Use a plugin like tapeit.
> http://www.silverspike.com/?Products:TapeIt
>
>        Rainer
>
>

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That is absolutely incredible! You are telling me this plug in will record what&#39;s being recorded in Live? This is just too good to be true. If I am already recording audio/midi to my external hard drive, what does this do? Can I record two different programs on to the same hard drive simultaneously? Can I edit in this plug in as well?&nbsp;<br>
<br>
<div><span class="gmail_quote">On 2/5/08, <b class="gmail_sendername">Rainer Thelonius Balthasar Straschill</b> &lt;<a href="mailto:rs@moinlabs.de">rs@moinlabs.de</a>&gt; wrote:</span>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">&gt; I simply want to be able to retain all audio as it&#39;s performed in an<br>improvisational sense, no matter it&#39;s source as long as it&#39;s<br>
&gt; hosted in Live, in an independent yet synchronized (FULLY DESTRUCTIVE EDIT<br>READY) multi track session.<br><br>Use a plugin like tapeit.<br><a href="http://www.silverspike.com/?Products:TapeIt">http://www.silverspike.com/?Products:TapeIt</a><br>
<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rainer<br><br></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Tue Feb  5 21:38:18 2008
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: AW: Ableton Live & The best way to multi track.
Date: Tue, 5 Feb 2008 22:38:58 +0100
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No. This plugin (it's a VST plugin) records what is going through the audio
track it is sitting on. If you put it on the master as the last element, it
records what you send to the mains. If you put it onto an audio input track
as the first effect, it will record what goes into that track etc. You can
use more than one of them to record several tracks (and in the tapeit2
version, even sync them), and on a normal contemporary computer, you can
record a lot of tracks onto the same drive simultaneously.
 
    Rainer


  _____  

Von: Bass Player [mailto:mrbigpantz@gmail.com] 
Gesendet: Dienstag, 5. Februar 2008 19:57
An: Loopers-Delight@loopers-delight.com
Betreff: Re: Ableton Live & The best way to multi track.


That is absolutely incredible! You are telling me this plug in will record
what's being recorded in Live? This is just too good to be true. If I am
already recording audio/midi to my external hard drive, what does this do?
Can I record two different programs on to the same hard drive
simultaneously? Can I edit in this plug in as well? 


On 2/5/08, Rainer Thelonius Balthasar Straschill <rs@moinlabs.de> wrote: 

> I simply want to be able to retain all audio as it's performed in an
improvisational sense, no matter it's source as long as it's
> hosted in Live, in an independent yet synchronized (FULLY DESTRUCTIVE EDIT
READY) multi track session.

Use a plugin like tapeit.
http://www.silverspike.com/?Products:TapeIt

       Rainer





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<BODY>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D890373621-05022008><FONT =
face=3DArial=20
color=3D#0000ff size=3D2>No. This plugin (it's a VST plugin) records =
what is going=20
through the audio track it is sitting on. If you put it on the master as =
the=20
last element, it records what you send to the mains. If you put it onto =
an audio=20
input track as the first effect, it will record what goes into that =
track etc.=20
You can use more than one of them to record several tracks (and in the =
tapeit2=20
version, even sync them), and on a normal contemporary computer, you can =
record=20
a lot of tracks onto the same drive simultaneously.</FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D890373621-05022008><FONT =
face=3DArial=20
color=3D#0000ff size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN =
class=3D890373621-05022008>&nbsp;&nbsp;&nbsp; <FONT=20
face=3DArial color=3D#0000ff size=3D2>Rainer</FONT></SPAN></DIV><BR>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px">
  <DIV class=3DOutlookMessageHeader lang=3Dde dir=3Dltr align=3Dleft>
  <HR tabIndex=3D-1>
  <FONT face=3DTahoma size=3D2><B>Von:</B> Bass Player =
[mailto:mrbigpantz@gmail.com]=20
  <BR><B>Gesendet:</B> Dienstag, 5. Februar 2008 19:57<BR><B>An:</B>=20
  Loopers-Delight@loopers-delight.com<BR><B>Betreff:</B> Re: Ableton =
Live &amp;=20
  The best way to multi track.<BR></FONT><BR></DIV>
  <DIV></DIV>That is absolutely incredible! You are telling me this plug =
in will=20
  record what's being recorded in Live? This is just too good to be =
true. If I=20
  am already recording audio/midi to my external hard drive, what does =
this do?=20
  Can I record two different programs on to the same hard drive =
simultaneously?=20
  Can I edit in this plug in as well?&nbsp;<BR><BR>
  <DIV><SPAN class=3Dgmail_quote>On 2/5/08, <B =
class=3Dgmail_sendername>Rainer=20
  Thelonius Balthasar Straschill</B> &lt;<A=20
  href=3D"mailto:rs@moinlabs.de">rs@moinlabs.de</A>&gt; wrote:</SPAN>=20
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">&gt;=20
    I simply want to be able to retain all audio as it's performed in=20
    an<BR>improvisational sense, no matter it's source as long as =
it's<BR>&gt;=20
    hosted in Live, in an independent yet synchronized (FULLY =
DESTRUCTIVE=20
    EDIT<BR>READY) multi track session.<BR><BR>Use a plugin like =
tapeit.<BR><A=20
    =
href=3D"http://www.silverspike.com/?Products:TapeIt">http://www.silverspi=
ke.com/?Products:TapeIt</A><BR><BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=20
    Rainer<BR><BR></BLOCKQUOTE></DIV><BR></BLOCKQUOTE></BODY></HTML>

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If that's the case unfortunately this is not even close to suiting my needs.
I simply need something to document in sync all the multi tracked audio
results of each individual track in an Ableton Live set as the set is being
created/recorded.

Thanks For Your Help
Jeff


On Feb 5, 2008 4:38 PM, Rainer Thelonius Balthasar Straschill <
rs@moinlabs.de> wrote:

>  No. This plugin (it's a VST plugin) records what is going through the
> audio track it is sitting on. If you put it on the master as the last
> element, it records what you send to the mains. If you put it onto an audio
> input track as the first effect, it will record what goes into that track
> etc. You can use more than one of them to record several tracks (and in the
> tapeit2 version, even sync them), and on a normal contemporary computer, you
> can record a lot of tracks onto the same drive simultaneously.
>
>     Rainer
>
>  ------------------------------
> *Von:* Bass Player [mailto:mrbigpantz@gmail.com]
> *Gesendet:* Dienstag, 5. Februar 2008 19:57
> *An:* Loopers-Delight@loopers-delight.com
> *Betreff:* Re: Ableton Live & The best way to multi track.
>
>   That is absolutely incredible! You are telling me this plug in will
> record what's being recorded in Live? This is just too good to be true. If I
> am already recording audio/midi to my external hard drive, what does this
> do? Can I record two different programs on to the same hard drive
> simultaneously? Can I edit in this plug in as well?
>
> On 2/5/08, Rainer Thelonius Balthasar Straschill <rs@moinlabs.de> wrote:
> >
> > > I simply want to be able to retain all audio as it's performed in an
> > improvisational sense, no matter it's source as long as it's
> > > hosted in Live, in an independent yet synchronized (FULLY DESTRUCTIVE
> > EDIT
> > READY) multi track session.
> >
> > Use a plugin like tapeit.
> > http://www.silverspike.com/?Products:TapeIt
> >
> >        Rainer
> >
> >
>

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If that&#39;s the case unfortunately this is not even close to suiting my needs. I simply need something to document in sync all&nbsp;the multi tracked audio results of each individual&nbsp;track in an Ableton Live set as the set is being created/recorded. <br>

<div class="gmail_quote">&nbsp;</div>
<div class="gmail_quote">Thanks For Your Help</div>
<div class="gmail_quote">Jeff</div>
<div class="gmail_quote">&nbsp;</div>
<div class="gmail_quote">&nbsp;</div>
<div class="gmail_quote">On Feb 5, 2008 4:38 PM, Rainer Thelonius Balthasar Straschill &lt;<a href="mailto:rs@moinlabs.de">rs@moinlabs.de</a>&gt; wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
<div>
<div dir="ltr" align="left"><span><font face="Arial" color="#0000ff" size="2">No. This plugin (it&#39;s a VST plugin) records what is going through the audio track it is sitting on. If you put it on the master as the last element, it records what you send to the mains. If you put it onto an audio input track as the first effect, it will record what goes into that track etc. You can use more than one of them to record several tracks (and in the tapeit2 version, even sync them), and on a normal contemporary computer, you can record a lot of tracks onto the same drive simultaneously.</font></span></div>

<div dir="ltr" align="left"><span><font face="Arial" color="#0000ff" size="2"></font></span>&nbsp;</div>
<div dir="ltr" align="left"><span>&nbsp;&nbsp;&nbsp; <font face="Arial" color="#0000ff" size="2">Rainer</font></span></div><br>
<blockquote style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px solid; MARGIN-RIGHT: 0px">
<div lang="de" dir="ltr" align="left">
<hr>
<font face="Tahoma" size="2"><b>Von:</b> Bass Player [mailto:<a href="mailto:mrbigpantz@gmail.com" target="_blank">mrbigpantz@gmail.com</a>] <br><b>Gesendet:</b> Dienstag, 5. Februar 2008 19:57<br><b>An:</b> <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a><br>
<b>Betreff:</b> Re: Ableton Live &amp; The best way to multi track.<br></font><br></div>
<div>
<div></div>
<div class="Wj3C7c">
<div></div>That is absolutely incredible! You are telling me this plug in will record what&#39;s being recorded in Live? This is just too good to be true. If I am already recording audio/midi to my external hard drive, what does this do? Can I record two different programs on to the same hard drive simultaneously? Can I edit in this plug in as well?&nbsp;<br>
<br>
<div><span class="gmail_quote">On 2/5/08, <b class="gmail_sendername">Rainer Thelonius Balthasar Straschill</b> &lt;<a href="mailto:rs@moinlabs.de" target="_blank">rs@moinlabs.de</a>&gt; wrote:</span> 
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">&gt; I simply want to be able to retain all audio as it&#39;s performed in an<br>improvisational sense, no matter it&#39;s source as long as it&#39;s<br>
&gt; hosted in Live, in an independent yet synchronized (FULLY DESTRUCTIVE EDIT<br>READY) multi track session.<br><br>Use a plugin like tapeit.<br><a href="http://www.silverspike.com/?Products:TapeIt" target="_blank">http://www.silverspike.com/?Products:TapeIt</a><br>
<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rainer<br><br></blockquote></div><br></div></div></blockquote></div></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Wed Feb  6 05:04:54 2008
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From: "Tony K" <bigtonyk@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
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In-Reply-To: <d9042b790802051939t3207fd10wd73f602ff2909001@mail.gmail.com>
Subject: RE: Ableton Live & The best way to multi track.
Date: Wed, 6 Feb 2008 00:04:48 -0500
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Are you sure it won=92t do it?  If you put it as the last fx in each =
track?
You=92d get a file with each track in it. You=92d have to drop all the =
files
into something like Sonar to sync them up.  Seems like it=92s worth a =
try.
I=92ve used tapeit on occasion and it works great.

=20

Tony

=20

From: Bass Player [mailto:mrbigpantz@gmail.com]=20
Sent: Tuesday, February 05, 2008 10:39 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Ableton Live & The best way to multi track.

=20

If that's the case unfortunately this is not even close to suiting my =
needs.
I simply need something to document in sync all the multi tracked audio
results of each individual track in an Ableton Live set as the set is =
being
created/recorded.=20

=20

Thanks For Your Help

Jeff

=20

=20

On Feb 5, 2008 4:38 PM, Rainer Thelonius Balthasar Straschill <HYPERLINK
"mailto:rs@moinlabs.de"rs@moinlabs.de> wrote:

No. This plugin (it's a VST plugin) records what is going through the =
audio
track it is sitting on. If you put it on the master as the last element, =
it
records what you send to the mains. If you put it onto an audio input =
track
as the first effect, it will record what goes into that track etc. You =
can
use more than one of them to record several tracks (and in the tapeit2
version, even sync them), and on a normal contemporary computer, you can
record a lot of tracks onto the same drive simultaneously.

=20

    Rainer

=20


   _____ =20


Von: Bass Player [mailto:HYPERLINK "mailto:mrbigpantz@gmail.com"
\nmrbigpantz@gmail.com]=20
Gesendet: Dienstag, 5. Februar 2008 19:57
An: HYPERLINK "mailto:Loopers-Delight@loopers-delight.com"
\nLoopers-Delight@loopers-delight.com
Betreff: Re: Ableton Live & The best way to multi track.

That is absolutely incredible! You are telling me this plug in will =
record
what's being recorded in Live? This is just too good to be true. If I am
already recording audio/midi to my external hard drive, what does this =
do?
Can I record two different programs on to the same hard drive
simultaneously? Can I edit in this plug in as well?=20

On 2/5/08, Rainer Thelonius Balthasar Straschill <HYPERLINK
"mailto:rs@moinlabs.de" \nrs@moinlabs.de> wrote:=20

> I simply want to be able to retain all audio as it's performed in an
improvisational sense, no matter it's source as long as it's
> hosted in Live, in an independent yet synchronized (FULLY DESTRUCTIVE =
EDIT
READY) multi track session.

Use a plugin like tapeit.
HYPERLINK "http://www.silverspike.com/?Products:TapeIt"
\nhttp://www.silverspike.com/?Products:TapeIt

       Rainer

=20

=20

No virus found in this incoming message.
Checked by AVG Free Edition.
Version: 7.5.516 / Virus Database: 269.19.20/1261 - Release Date: =
2/5/2008
8:57 PM


No virus found in this outgoing message.
Checked by AVG Free Edition.=20
Version: 7.5.516 / Virus Database: 269.19.20/1261 - Release Date: =
2/5/2008
8:57 PM
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<div class=3DSection1>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Are you sure it won&#8217;t do it?&nbsp; If you put it as =
the last fx in
each track? You&#8217;d get a file with each track in it. You&#8217;d =
have to drop all the
files into something like Sonar to sync them up.&nbsp; Seems like =
it&#8217;s worth a try.&nbsp;
I&#8217;ve used tapeit on occasion and it works =
great.<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Tony<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<div style=3D'border:none;border-top:solid #B5C4DF 1.0pt;padding:3.0pt =
0in 0in 0in'>

<p class=3DMsoNormal><b><span =
style=3D'font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span>=
</b><span
style=3D'font-size:10.0pt;font-family:"Tahoma","sans-serif"'> Bass =
Player
[mailto:mrbigpantz@gmail.com] <br>
<b>Sent:</b> Tuesday, February 05, 2008 10:39 PM<br>
<b>To:</b> Loopers-Delight@loopers-delight.com<br>
<b>Subject:</b> Re: Ableton Live &amp; The best way to multi =
track.<o:p></o:p></span></p>

</div>

<p class=3DMsoNormal><o:p>&nbsp;</o:p></p>

<p class=3DMsoNormal>If that's the case unfortunately this is not even =
close to
suiting my needs. I simply need something to document in sync =
all&nbsp;the
multi tracked audio results of each individual&nbsp;track in an Ableton =
Live
set as the set is being created/recorded. <o:p></o:p></p>

<div>

<p class=3DMsoNormal>&nbsp;<o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal>Thanks For Your Help<o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal>Jeff<o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal>&nbsp;<o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal>&nbsp;<o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal>On Feb 5, 2008 4:38 PM, Rainer Thelonius Balthasar
Straschill &lt;<a href=3D"mailto:rs@moinlabs.de">rs@moinlabs.de</a>&gt; =
wrote:<o:p></o:p></p>

<div>

<p class=3DMsoNormal><span =
style=3D'font-size:10.0pt;font-family:"Arial","sans-serif";
color:blue'>No. This plugin (it's a VST plugin) records what is going =
through
the audio track it is sitting on. If you put it on the master as the =
last
element, it records what you send to the mains. If you put it onto an =
audio
input track as the first effect, it will record what goes into that =
track etc.
You can use more than one of them to record several tracks (and in the =
tapeit2
version, even sync them), and on a normal contemporary computer, you can =
record
a lot of tracks onto the same drive =
simultaneously.</span><o:p></o:p></p>

<p class=3DMsoNormal>&nbsp;<o:p></o:p></p>

<p class=3DMsoNormal>&nbsp;&nbsp;&nbsp; <span =
style=3D'font-size:10.0pt;font-family:
"Arial","sans-serif";color:blue'>Rainer</span><o:p></o:p></p>

<blockquote style=3D'border:none;border-left:solid blue =
1.5pt;padding:0in 0in 0in 4.0pt;
margin-left:3.75pt;margin-top:5.0pt;margin-right:0in;margin-bottom:5.0pt'=
>

<p class=3DMsoNormal><o:p>&nbsp;</o:p></p>

<div class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><span =
lang=3DDE>

<hr size=3D2 width=3D"100%" align=3Dcenter>

</span></div>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><b><span lang=3DDE
style=3D'font-size:10.0pt;font-family:"Tahoma","sans-serif"'>Von:</span><=
/b><span
lang=3DDE style=3D'font-size:10.0pt;font-family:"Tahoma","sans-serif"'> =
Bass Player
[mailto:<a href=3D"mailto:mrbigpantz@gmail.com" =
target=3D"_blank">mrbigpantz@gmail.com</a>]
<br>
<b>Gesendet:</b> Dienstag, 5. Februar 2008 19:57<br>
<b>An:</b> <a href=3D"mailto:Loopers-Delight@loopers-delight.com" =
target=3D"_blank">Loopers-Delight@loopers-delight.com</a><br>
<b>Betreff:</b> Re: Ableton Live &amp; The best way to multi =
track.</span><span
lang=3DDE><o:p></o:p></span></p>

<div>

<div>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'>That is absolutely =
incredible!
You are telling me this plug in will record what's being recorded in =
Live? This
is just too good to be true. If I am already recording audio/midi to my
external hard drive, what does this do? Can I record two different =
programs on
to the same hard drive simultaneously? Can I edit in this plug in as
well?&nbsp;<o:p></o:p></p>

<div>

<p class=3DMsoNormal><span class=3Dgmailquote>On 2/5/08, <b>Rainer =
Thelonius
Balthasar Straschill</b> &lt;<a href=3D"mailto:rs@moinlabs.de" =
target=3D"_blank">rs@moinlabs.de</a>&gt;
wrote:</span> <o:p></o:p></p>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'>&gt; I simply want =
to be able
to retain all audio as it's performed in an<br>
improvisational sense, no matter it's source as long as it's<br>
&gt; hosted in Live, in an independent yet synchronized (FULLY =
DESTRUCTIVE EDIT<br>
READY) multi track session.<br>
<br>
Use a plugin like tapeit.<br>
<a href=3D"http://www.silverspike.com/?Products:TapeIt" =
target=3D"_blank">http://www.silverspike.com/?Products:TapeIt</a><br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rainer<o:p></o:p></p>

</div>

<p class=3DMsoNormal><o:p>&nbsp;</o:p></p>

</div>

</div>

</blockquote>

</div>

</div>

<p class=3DMsoNormal =
style=3D'margin-bottom:12.0pt'><o:p>&nbsp;</o:p></p>

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Date: Wed, 6 Feb 2008 07:59:11 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Ableton Live & The best way to multi track.
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You can do by means of Rewire,
using , for instance, Bidule, and
routing Ableton's outs to some
patch in bidule that contains a multi-
file recorder, which would sync those
coming inputs by default. Even it's
capable of recording them as a single
.wav file with several channels,
for a posteriori splitting if you deserve.

Raul.

2008/2/6, Tony K <bigtonyk@gmail.com>:
>
>  Are you sure it won't do it?  If you put it as the last fx in each track?
> You'd get a file with each track in it. You'd have to drop all the files
> into something like Sonar to sync them up.  Seems like it's worth a try.
> I've used tapeit on occasion and it works great.
>
>
>
> Tony
>
>
>
> *From:* Bass Player [mailto:mrbigpantz@gmail.com]
> *Sent:* Tuesday, February 05, 2008 10:39 PM
> *To:* Loopers-Delight@loopers-delight.com
> *Subject:* Re: Ableton Live & The best way to multi track.
>
>
>
> If that's the case unfortunately this is not even close to suiting my
> needs. I simply need something to document in sync all the multi tracked
> audio results of each individual track in an Ableton Live set as the set is
> being created/recorded.
>
>
>
> Thanks For Your Help
>
> Jeff
>
>
>
>
>
> On Feb 5, 2008 4:38 PM, Rainer Thelonius Balthasar Straschill <
> rs@moinlabs.de> wrote:
>
> No. This plugin (it's a VST plugin) records what is going through the
> audio track it is sitting on. If you put it on the master as the last
> element, it records what you send to the mains. If you put it onto an audio
> input track as the first effect, it will record what goes into that track
> etc. You can use more than one of them to record several tracks (and in the
> tapeit2 version, even sync them), and on a normal contemporary computer, you
> can record a lot of tracks onto the same drive simultaneously.
>
>
>
>     Rainer
>
>
>  ------------------------------
>
> *Von:* Bass Player [mailto:mrbigpantz@gmail.com]
> *Gesendet:* Dienstag, 5. Februar 2008 19:57
> *An:* Loopers-Delight@loopers-delight.com
> *Betreff:* Re: Ableton Live & The best way to multi track.
>
> That is absolutely incredible! You are telling me this plug in will record
> what's being recorded in Live? This is just too good to be true. If I am
> already recording audio/midi to my external hard drive, what does this do?
> Can I record two different programs on to the same hard drive
> simultaneously? Can I edit in this plug in as well?
>
> On 2/5/08, *Rainer Thelonius Balthasar Straschill* <rs@moinlabs.de> wrote:
>
> > I simply want to be able to retain all audio as it's performed in an
> improvisational sense, no matter it's source as long as it's
> > hosted in Live, in an independent yet synchronized (FULLY DESTRUCTIVE
> EDIT
> READY) multi track session.
>
> Use a plugin like tapeit.
> http://www.silverspike.com/?Products:TapeIt
>
>        Rainer
>
>
>
>
>
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.5.516 / Virus Database: 269.19.20/1261 - Release Date: 2/5/2008
> 8:57 PM
>
> No virus found in this outgoing message.
> Checked by AVG Free Edition.
> Version: 7.5.516 / Virus Database: 269.19.20/1261 - Release Date: 2/5/2008
> 8:57 PM
>



-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra
TPO at Jamendo: http://www.jamendo.com

------=_Part_17291_5050338.1202281151472
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

You can do by means of Rewire,<br>using , for instance, Bidule, and<br>routing Ableton&#39;s outs to some<br>patch in bidule that contains a multi-<br>file recorder, which would sync those<br>coming inputs by default. Even it&#39;s<br>
capable of recording them as a single <br>.wav file with several channels, <br>for a posteriori splitting if you deserve.<br><br>Raul.<br><br><div><span class="gmail_quote">2008/2/6, Tony K &lt;<a href="mailto:bigtonyk@gmail.com">bigtonyk@gmail.com</a>&gt;:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">












<div link="blue" vlink="purple" lang="EN-US">

<div>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Are you sure it won't do it?&nbsp; If you put it as the last fx in
each track? You'd get a file with each track in it. You'd have to drop all the
files into something like Sonar to sync them up.&nbsp; Seems like it's worth a try.&nbsp;
I've used tapeit on occasion and it works great.</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Tony</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<div style="border-style: solid none none; border-color: rgb(181, 196, 223) -moz-use-text-color -moz-use-text-color; border-width: 1pt medium medium; padding: 3pt 0in 0in;">

<p><b><span style="font-size: 10pt;">From:</span></b><span style="font-size: 10pt;"> Bass Player
[mailto:<a href="mailto:mrbigpantz@gmail.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">mrbigpantz@gmail.com</a>] <br>
<b>Sent:</b> Tuesday, February 05, 2008 10:39 PM<br>
<b>To:</b> <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Loopers-Delight@loopers-delight.com</a><br>
<b>Subject:</b> Re: Ableton Live &amp; The best way to multi track.</span></p>

</div><div><span class="e" id="q_117ed22149c41957_1">

<p>&nbsp;</p>

<p>If that&#39;s the case unfortunately this is not even close to
suiting my needs. I simply need something to document in sync all&nbsp;the
multi tracked audio results of each individual&nbsp;track in an Ableton Live
set as the set is being created/recorded. </p>

<div>

<p>&nbsp;</p>

</div>

<div>

<p>Thanks For Your Help</p>

</div>

<div>

<p>Jeff</p>

</div>

<div>

<p>&nbsp;</p>

</div>

<div>

<p>&nbsp;</p>

</div>

<div>

<p>On Feb 5, 2008 4:38 PM, Rainer Thelonius Balthasar
Straschill &lt;<a href="mailto:rs@moinlabs.de" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">rs@moinlabs.de</a>&gt; wrote:</p>

<div>

<p><span style="font-size: 10pt; color: blue;">No. This plugin (it&#39;s a VST plugin) records what is going through
the audio track it is sitting on. If you put it on the master as the last
element, it records what you send to the mains. If you put it onto an audio
input track as the first effect, it will record what goes into that track etc.
You can use more than one of them to record several tracks (and in the tapeit2
version, even sync them), and on a normal contemporary computer, you can record
a lot of tracks onto the same drive simultaneously.</span></p>

<p>&nbsp;</p>

<p>&nbsp;&nbsp;&nbsp; <span style="font-size: 10pt; color: blue;">Rainer</span></p>

<blockquote style="border-style: none none none solid; border-color: -moz-use-text-color -moz-use-text-color -moz-use-text-color blue; border-width: medium medium medium 1.5pt; margin: 5pt 0in 5pt 3.75pt; padding: 0in 0in 0in 4pt;">


<p>&nbsp;</p>

<div style="text-align: center;" align="center"><span lang="DE">

<hr align="center" size="2" width="100%">

</span></div>

<p style="margin-bottom: 12pt;"><b><span style="font-size: 10pt;" lang="DE">Von:</span></b><span style="font-size: 10pt;" lang="DE"> Bass Player
[mailto:<a href="mailto:mrbigpantz@gmail.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">mrbigpantz@gmail.com</a>]
<br>
<b>Gesendet:</b> Dienstag, 5. Februar 2008 19:57<br>
<b>An:</b> <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Loopers-Delight@loopers-delight.com</a><br>
<b>Betreff:</b> Re: Ableton Live &amp; The best way to multi track.</span><span lang="DE"></span></p>

<div>

<div>

<p style="margin-bottom: 12pt;">That is absolutely incredible!
You are telling me this plug in will record what&#39;s being recorded in Live? This
is just too good to be true. If I am already recording audio/midi to my
external hard drive, what does this do? Can I record two different programs on
to the same hard drive simultaneously? Can I edit in this plug in as
well?&nbsp;</p>

<div>

<p><span>On 2/5/08, <b>Rainer Thelonius
Balthasar Straschill</b> &lt;<a href="mailto:rs@moinlabs.de" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">rs@moinlabs.de</a>&gt;
wrote:</span> </p>

<p style="margin-bottom: 12pt;">&gt; I simply want to be able
to retain all audio as it&#39;s performed in an<br>
improvisational sense, no matter it&#39;s source as long as it&#39;s<br>
&gt; hosted in Live, in an independent yet synchronized (FULLY DESTRUCTIVE EDIT<br>
READY) multi track session.<br>
<br>
Use a plugin like tapeit.<br>
<a href="http://www.silverspike.com/?Products:TapeIt" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.silverspike.com/?Products:TapeIt</a><br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rainer</p>

</div>

<p>&nbsp;</p>

</div>

</div>

</blockquote>

</div>

</div>

<p style="margin-bottom: 12pt;">&nbsp;</p></span></div>

<p><span style="font-size: 10pt;">No virus found in this incoming message.<br>
Checked by AVG Free Edition.<br>
Version: 7.5.516 / Virus Database: 269.19.20/1261 - Release Date: 2/5/2008 8:57
PM</span></p>

</div>

</div>


<br>

<p><font size="2">No virus found in this outgoing message.<br>
Checked by AVG Free Edition.<br>
Version: 7.5.516 / Virus Database: 269.19.20/1261 - Release Date: 2/5/2008 8:57 PM<br>
</font> </p>
</blockquote></div><br><br clear="all"><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo">http://www.telefonica.net/web2/tpo</a><br>Chain Tape Collective: <a href="http://www.ct-collective.com">http://www.ct-collective.com</a><br>
TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra">http://www.myspace.com/theplayingorchestra</a><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a>

------=_Part_17291_5050338.1202281151472--

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I will be out of the office starting  02/05/2008 and will not return until
02/06/2008.

For telecom issues, Genesys, Video or Audio Conferencing contact Greg
Bouffard at 323 932 3793.

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On Feb 6, 2008 4:39 AM, Bass Player <mrbigpantz@gmail.com> wrote:
> If that's the case unfortunately this is not even close to suiting my needs.
> I simply need something to document in sync all the multi tracked audio
> results of each individual track in an Ableton Live set as the set is being
> created/recorded.


I never posted in this thread because I think Rainer's suggestion
would do that. As will also the Consolidate Track function in Live. If
it gives you audio files on the drive that correspond to all tracks,
at least I would regard that as "being in sync". Given you start those
audio files at the same time, of course ;-)

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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HI,

I just heard about Last.fm getting their act together in a new program
of internet radio that legally honors both recording right holders
(artists, performers, record labels) and music right holders
(composers, publishers). This made me interested to check out the
service - and I immediately started to enjoy the free stations! I also
created an artist page as well as a user page. On the user page you
can hook up with "friends", but I wasn't able to find any other way to
do this than by letting the Last.fm software spam my gmail address
book, or manually picked names, with invitations. I don't want do
that, so now I'm wondering if anyone here knows a better way?

If anyone here is already a member at Last.fm and want to hook up, you
may find me as the user name "perboysen".

Also, I tried the station based on the tag word "looping" and cello
loopist of this list Zoe Keating came up first. Way cool! But most
songs on that station was just ordinary "radio techno" with static
loop samples. So the playlists over at Last.fm definitely need more
live loopers to submit music. A new feature is that you can set
submitted songs to "Full length preview" to make them eligible  for
internet radio streaming. Another funny detail; when I joined in at
Last.fm I found lots of my music already submitted! But there wasn't
any problem at all to claim the songs as I was registering my artist
profile. At their forum I learned that many other have experienced
this too and I sent a mail to Last.fm to ask what to do. They answered
back within just hours, which is great I think! It seems this service
is well in line with the future (BTW just read Nokias report "A
Glimpse of the Next Episode"
http://www.nokia.com/A4136001?newsid=1172517)

I remember someone posted here on Last.fm not long ago, but nothing
came up on a search at this list's archive. Maybe the archive is
lagging behind a couple of months? Or maybe I, or that poster,
misspelled Last.fm?

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From refund@usa.gov  Wed Feb  6 13:43:33 2008
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From Loopers-Delight-request@loopers-delight.com  Wed Feb  6 13:56:19 2008
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Date: Wed,  6 Feb 2008 08:30:25 -0500
From: phaslem@wightman.ca
To: Loopers-Delight@loopers-delight.com
Subject: Re: Last.fm?
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Hey Per,

I've been on last.fm for over a year and have gotten a lot of regular =20
listeners as a result. I've also had quite a few people wander over to =20
my web site as a result of being on Last.fm.
I'm not certain, but I believe that a lot of peoples names and lists =20
of music come up because of listeners. If you download their software =20
that tracks what you listen to then artists that aren't on their data =20
base are added but you'll notice that those artist's music is not =20
available for streaming. I found that when I first came across the =20
site there were several people listed as listeners to one of my cd's =20
but the music wasn't available to stream until I uploaded it to my =20
artist page.

I'll look you up when I get home from work tonight.


regards,

Paul Haslem
www.dulcify.ca
Ontario, Canada




Quoting Per Boysen <perboysen@gmail.com>:

> HI,
>
> I just heard about Last.fm getting their act together in a new program
> of internet radio that legally honors both recording right holders
> (artists, performers, record labels) and music right holders
> (composers, publishers). This made me interested to check out the
> service - and I immediately started to enjoy the free stations! I also
> created an artist page as well as a user page. On the user page you
> can hook up with "friends", but I wasn't able to find any other way to
> do this than by letting the Last.fm software spam my gmail address
> book, or manually picked names, with invitations. I don't want do
> that, so now I'm wondering if anyone here knows a better way?
>
> If anyone here is already a member at Last.fm and want to hook up, you
> may find me as the user name "perboysen".
>
> Also, I tried the station based on the tag word "looping" and cello
> loopist of this list Zoe Keating came up first. Way cool! But most
> songs on that station was just ordinary "radio techno" with static
> loop samples. So the playlists over at Last.fm definitely need more
> live loopers to submit music. A new feature is that you can set
> submitted songs to "Full length preview" to make them eligible  for
> internet radio streaming. Another funny detail; when I joined in at
> Last.fm I found lots of my music already submitted! But there wasn't
> any problem at all to claim the songs as I was registering my artist
> profile. At their forum I learned that many other have experienced
> this too and I sent a mail to Last.fm to ask what to do. They answered
> back within just hours, which is great I think! It seems this service
> is well in line with the future (BTW just read Nokias report "A
> Glimpse of the Next Episode"
> http://www.nokia.com/A4136001?newsid=3D1172517)
>
> I remember someone posted here on Last.fm not long ago, but nothing
> came up on a search at this list's archive. Maybe the archive is
> lagging behind a couple of months? Or maybe I, or that poster,
> misspelled Last.fm?
>
> --
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>


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Date: Wed, 6 Feb 2008 09:55:11 -0500
From: "Bass Player" <mrbigpantz@gmail.com>
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Subject: Re: Ableton Live & The best way to multi track.
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Hi Tony
Thank you very much for the reply. These are some candid and respectful
queries in thought that I have concerning this issue.

Why in the name of all that's ridiculously simple in terms of BASIC needs
isn't this feature available in Live itself? I'm clueless. It seems so
rudimentary doesn't it?

It would seem like this would be possible via rewire. Is it? (and)  How well
will it work if I attempt to rewire a multi track editor like Audition 3
directly to live?

How about the option of routing the tracks out of Live to a different
computer? Can you tap the midi track's audio output and pipe it via ASIO to
a different computer?

Thank you very much for even taking the time to read this. I must say that I
am completely at a loss for a logical reason that Ableton fails to make this
most basic of options available to it's users. I mean, isn't this like DAW
101 or something? ie. Getting a synchronized audio feed from all of a host's
tracks that you are recording to?

Please don't get the wrong idea. I do LOVE Live but it's inability to
preserve exact audio in the arrangement is mind boggling.

Thanks Again,
Jeff


On 2/6/08, Per Boysen <perboysen@gmail.com> wrote:
>
> On Feb 6, 2008 4:39 AM, Bass Player <mrbigpantz@gmail.com> wrote:
> > If that's the case unfortunately this is not even close to suiting my
> needs.
> > I simply need something to document in sync all the multi tracked audio
> > results of each individual track in an Ableton Live set as the set is
> being
> > created/recorded.
>
>
> I never posted in this thread because I think Rainer's suggestion
> would do that. As will also the Consolidate Track function in Live. If
> it gives you audio files on the drive that correspond to all tracks,
> at least I would regard that as "being in sync". Given you start those
> audio files at the same time, of course ;-)
>
> --
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>

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<div>Hi Tony</div>
<div>Thank you very much for the reply. These are some candid and respectful queries in thought that I have concerning this issue.</div>
<div>&nbsp;</div>
<div>Why in the name of all that&#39;s ridiculously simple in terms of BASIC needs isn&#39;t this feature available in Live itself? I&#39;m clueless. It seems so rudimentary doesn&#39;t it?</div>
<div>&nbsp;</div>
<div>It would seem like this would be possible via rewire. Is it? (and)&nbsp; How well will it work if I attempt to rewire a multi track editor like Audition 3 directly to live?</div>
<div>&nbsp;</div>
<div>How about the option of routing the tracks out of Live to a different computer? Can you tap the midi track&#39;s audio output and pipe it via ASIO to a different computer?</div>
<div>&nbsp;</div>
<div>Thank you very much for even taking the time to read this. I must say that I am completely at a loss for a logical reason that Ableton fails to make this most basic of options available to it&#39;s users. I mean, isn&#39;t this like DAW 101 or something? ie. Getting a synchronized audio feed from all of a host&#39;s tracks that you are recording to?</div>

<div>&nbsp;</div>
<div>Please don&#39;t get the wrong idea. I do LOVE Live but it&#39;s inability to preserve exact audio in the arrangement is mind boggling.</div>
<div>&nbsp;</div>
<div>Thanks Again,</div>
<div>Jeff<br><br>&nbsp;</div>
<div><span class="gmail_quote">On 2/6/08, <b class="gmail_sendername">Per Boysen</b> &lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt; wrote:</span>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">On Feb 6, 2008 4:39 AM, Bass Player &lt;<a href="mailto:mrbigpantz@gmail.com">mrbigpantz@gmail.com</a>&gt; wrote:<br>
&gt; If that&#39;s the case unfortunately this is not even close to suiting my needs.<br>&gt; I simply need something to document in sync all the multi tracked audio<br>&gt; results of each individual track in an Ableton Live set as the set is being<br>
&gt; created/recorded.<br><br><br>I never posted in this thread because I think Rainer&#39;s suggestion<br>would do that. As will also the Consolidate Track function in Live. If<br>it gives you audio files on the drive that correspond to all tracks,<br>
at least I would regard that as &quot;being in sync&quot;. Given you start those<br>audio files at the same time, of course ;-)<br><br>--<br>Greetings from Sweden<br><br>Per Boysen<br><a href="http://www.boysen.se">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com">www.looproom.com</a> (international)<br><br></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Wed Feb  6 14:58:19 2008
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Date: Wed, 6 Feb 2008 15:58:18 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
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Subject: Re: tools
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2008/2/4, Per Boysen <perboysen@gmail.com>:
>
> On Feb 3, 2008 4:16 PM, Raul Bonell <raul.bonell@gmail.com> wrote:
> >
> > ... what functions do you use to prevent too much sound activity,
>
>
> From: "Per Boysen"
>
> Imagination and Silence. About half of each.
>
>
> I regret posting "Koan style" like that


No Per. I like them!
Short and concise.


Ok, what about if the above doesn't seem to work? Then it's probably because
> you are concentrating too hard on the music you want to create. So hard that
> your mental focus blocks out the natural musical instincts that should guide
> your playing to fit in with the sounding music.
>

Yes.  I supose  most of us know this but it's so easy to fall
into this state when jamming with others...

Next phase, when you master the above, is technical aspects. I'd say the
> methodology is the same in looping as in mixing, composing or arranging. As
> in not layering instruments/sounds that are prominent in the same frequency
> band, if they have different musical roles. Musical parts that are intended
> to accompany each other do that much better if they are also, sound-wise,
> are easy for the ear to keep apart. The more different two instruments
> sound, the better they work for playing the "questions and answers" game in
> music arranging.
>

So you say that most oh these old techs work the same when
applied to live-looping. I think this level needs a lot of practice on your
own even as testing a priori those, let's called it, live-mixing techniques.
Main problem you must divide your available practice time between regular
instrument practice + livemixing/looping..

As the third level we have "sound design in looping". I'd say there are two
> major concepts; the mixing concept for looping and the "reverse engineered
> mixing" concept for looping.
>
> To loop according to the mixing concept you typically split up the
> looper/loopers output over many mixer channels and apply different effects
> to different loops. This way you have total control of the summed output.
> The more complex your music gets the more you will be mixing instead of
> playing.
>

Maybe this is why you limited your available Mobius track to just 4 or 5 of
the 8 possible, isn't?... Mono or stereo?

Reverse-engineered mixing style looping is when you tailor the input sound
> before looping. Typically a performer of this school puts most effects
> directly on the input to make sure the looped sounds will not have
> interfering frequencies. Down-side is of course that you can't change the
> way sounds were originally recorded.
>

This approach is my favourite too, and you had a name for it!,
Great!!...

Also, I'm considering these days going for a mixed setup with a more
samplestyle oriented side. Sure there's people doing interesting things
triggering/processing one shots...

Just looking for a way that doesn't layers all sound i'm sending,
but gives you the capability of repeating some parts of it.

Maybe with track groups/focus lock and mute in mobius, samplerstyle/mute in
EDP and mobius too,...

I'd be interested to know how some of you face this need.

Raul.

-- 
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>


-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra
TPO at Jamendo: http://www.jamendo.com

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<br><br><div><span class="gmail_quote">2008/2/4, Per Boysen &lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<span class="q"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0px 0px 0px 0.8ex; padding-left: 1ex;">
On Feb 3, 2008 4:16 PM, Raul Bonell &lt;<a href="mailto:raul.bonell@gmail.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">raul.bonell@gmail.com</a>&gt; wrote:<br></blockquote><blockquote>&gt; ... what functions do you use to prevent too much sound activity,<br>
</blockquote>
<blockquote><br></blockquote></span><blockquote>From: &quot;Per Boysen&quot;<br></blockquote><span class="q"><blockquote>Imagination and Silence. About half of each.<br></blockquote><div><br></div></span>I regret posting &quot;Koan style&quot; like that </blockquote>
<div><br>No Per. I like them!<br>Short and concise.<br><br></div><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div>Ok, what about if the above doesn&#39;t seem to work? Then it&#39;s probably because you are concentrating too hard on the music you want to create. So hard that your mental focus blocks out the natural musical instincts that should guide your playing to fit in with the sounding music.&nbsp;</div>
</blockquote><div><br>Yes.&nbsp; I supose&nbsp; most of us know this but it&#39;s so easy to fall<br>into this state when jamming with others...<br></div><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div>Next phase, when you master the above, is technical aspects. I&#39;d say the methodology is the same in looping as in mixing, composing or arranging. As in not layering instruments/sounds that are prominent in the same frequency band, if they have different musical roles. Musical parts that are intended to accompany each other do that much better if they are also, sound-wise, are easy for the ear to keep apart. The more different two instruments sound, the better they work for playing the &quot;questions and answers&quot; game in music arranging.&nbsp;</div>
</blockquote><div><br>So you say that most oh these old techs work the same when<br>applied to live-looping. I think this level needs a lot of practice on your own even as testing a priori those, let&#39;s called it, live-mixing techniques. Main problem you must divide your available practice time between regular instrument practice + livemixing/looping..<br>
</div><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div>As the third level we have &quot;sound design in looping&quot;. I&#39;d say there are two major concepts; the mixing concept for looping and the &quot;reverse engineered mixing&quot; concept for looping.&nbsp;</div>

<div><br></div><div>To loop according to the mixing concept you typically split up the looper/loopers output over many mixer channels and apply different effects to different loops. This way you have total control of the summed output. The more complex your music gets the more you will be mixing instead of playing.&nbsp;</div>
</blockquote><div><br>Maybe this is why you limited your available Mobius track to just 4 or 5 of the 8 possible, isn&#39;t?...  Mono or stereo?<br></div><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div>Reverse-engineered mixing style looping is when you tailor the input sound before looping. Typically a performer of this school puts most effects directly on the input to make sure the looped sounds will not have interfering frequencies. Down-side is of course that you can&#39;t change the way sounds were originally recorded.&nbsp;</div>
</blockquote><div><br>This approach is my favourite too, and you had a name for it!,<br>Great!!...<br></div><br>Also, I&#39;m considering these days going for a mixed setup with a more samplestyle oriented side. Sure there&#39;s people doing interesting things triggering/processing one shots... <br>
<br>Just looking for a way that doesn&#39;t layers all sound i&#39;m sending,<br>but gives you the capability of repeating some parts of it.<br><br>Maybe with track groups/focus lock and mute in mobius, samplerstyle/mute in EDP and mobius too,... <br>
<br>I&#39;d be interested to know how some of you face this need.<br><br>Raul.<br><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div><span class="q">-- <br>
Greetings from Sweden<br><br>Per Boysen<br><a href="http://www.boysen.se" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">www.boysen.se</a> (Swedish)<br><a href="http://www.looproom.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">www.looproom.com</a> (international)<br>
<br></span></div>
</blockquote></div><br><br clear="all"><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo">http://www.telefonica.net/web2/tpo</a><br>Chain Tape Collective: <a href="http://www.ct-collective.com">http://www.ct-collective.com</a><br>
TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra">http://www.myspace.com/theplayingorchestra</a><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a>

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To: Loopers-Delight@loopers-delight.com
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Did you read Pers' prior message?
Maybe "Consolidate track" is what you are looking for...

Raul.

2008/2/6, Bass Player <mrbigpantz@gmail.com>:
>
> Hi Tony
> Thank you very much for the reply. These are some candid and respectful
> queries in thought that I have concerning this issue.
>
> Why in the name of all that's ridiculously simple in terms of BASIC needs
> isn't this feature available in Live itself? I'm clueless. It seems so
> rudimentary doesn't it?
>
> It would seem like this would be possible via rewire. Is it? (and)  How
> well will it work if I attempt to rewire a multi track editor like Audition
> 3 directly to live?
>
> How about the option of routing the tracks out of Live to a different
> computer? Can you tap the midi track's audio output and pipe it via ASIO to
> a different computer?
>
> Thank you very much for even taking the time to read this. I must say that
> I am completely at a loss for a logical reason that Ableton fails to make
> this most basic of options available to it's users. I mean, isn't this like
> DAW 101 or something? ie. Getting a synchronized audio feed from all of a
> host's tracks that you are recording to?
>
> Please don't get the wrong idea. I do LOVE Live but it's inability to
> preserve exact audio in the arrangement is mind boggling.
>
> Thanks Again,
> Jeff
>
>
> On 2/6/08, Per Boysen <perboysen@gmail.com> wrote:
> >
> > On Feb 6, 2008 4:39 AM, Bass Player <mrbigpantz@gmail.com> wrote:
> > > If that's the case unfortunately this is not even close to suiting my
> > needs.
> > > I simply need something to document in sync all the multi tracked
> > audio
> > > results of each individual track in an Ableton Live set as the set is
> > being
> > > created/recorded.
> >
> >
> > I never posted in this thread because I think Rainer's suggestion
> > would do that. As will also the Consolidate Track function in Live. If
> > it gives you audio files on the drive that correspond to all tracks,
> > at least I would regard that as "being in sync". Given you start those
> > audio files at the same time, of course ;-)
> >
> > --
> > Greetings from Sweden
> >
> > Per Boysen
> > www.boysen.se (Swedish)
> > www.looproom.com (international)
> >
> >
>


-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra
TPO at Jamendo: http://www.jamendo.com

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Did you read Pers&#39; prior message?<br>Maybe &quot;Consolidate track&quot; is what you are looking for... <br><br>Raul.<br><br><div><span class="gmail_quote">2008/2/6, Bass Player &lt;<a href="mailto:mrbigpantz@gmail.com">mrbigpantz@gmail.com</a>&gt;:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div>Hi Tony</div>
<div>Thank you very much for the reply. These are some candid and respectful queries in thought that I have concerning this issue.</div>
<div>&nbsp;</div>
<div>Why in the name of all that&#39;s ridiculously simple in terms of BASIC needs isn&#39;t this feature available in Live itself? I&#39;m clueless. It seems so rudimentary doesn&#39;t it?</div>
<div>&nbsp;</div>
<div>It would seem like this would be possible via rewire. Is it? (and)&nbsp; How well will it work if I attempt to rewire a multi track editor like Audition 3 directly to live?</div>
<div>&nbsp;</div>
<div>How about the option of routing the tracks out of Live to a different computer? Can you tap the midi track&#39;s audio output and pipe it via ASIO to a different computer?</div>
<div>&nbsp;</div>
<div>Thank you very much for even taking the time to read this. I must say that I am completely at a loss for a logical reason that Ableton fails to make this most basic of options available to it&#39;s users. I mean, isn&#39;t this like DAW 101 or something? ie. Getting a synchronized audio feed from all of a host&#39;s tracks that you are recording to?</div>


<div>&nbsp;</div>
<div>Please don&#39;t get the wrong idea. I do LOVE Live but it&#39;s inability to preserve exact audio in the arrangement is mind boggling.</div>
<div>&nbsp;</div>
<div>Thanks Again,</div>
<div>Jeff<br><br>&nbsp;</div><div><span class="e" id="q_117ef3eda9eec1cd_1">
<div><span class="gmail_quote">On 2/6/08, <b class="gmail_sendername">Per Boysen</b> &lt;<a href="mailto:perboysen@gmail.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">perboysen@gmail.com</a>&gt; wrote:</span>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0px 0px 0px 0.8ex; padding-left: 1ex;">On Feb 6, 2008 4:39 AM, Bass Player &lt;<a href="mailto:mrbigpantz@gmail.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">mrbigpantz@gmail.com</a>&gt; wrote:<br>

&gt; If that&#39;s the case unfortunately this is not even close to suiting my needs.<br>&gt; I simply need something to document in sync all the multi tracked audio<br>&gt; results of each individual track in an Ableton Live set as the set is being<br>

&gt; created/recorded.<br><br><br>I never posted in this thread because I think Rainer&#39;s suggestion<br>would do that. As will also the Consolidate Track function in Live. If<br>it gives you audio files on the drive that correspond to all tracks,<br>

at least I would regard that as &quot;being in sync&quot;. Given you start those<br>audio files at the same time, of course ;-)<br><br>--<br>Greetings from Sweden<br><br>Per Boysen<br><a href="http://www.boysen.se" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">www.boysen.se</a> (Swedish)<br>

<a href="http://www.looproom.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">www.looproom.com</a> (international)<br><br></blockquote></div><br>
</span></div></blockquote></div><br><br clear="all"><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo">http://www.telefonica.net/web2/tpo</a><br>Chain Tape Collective: <a href="http://www.ct-collective.com">http://www.ct-collective.com</a><br>
TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra">http://www.myspace.com/theplayingorchestra</a><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a>

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From: "Bass Player" <mrbigpantz@gmail.com>
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No, I'm afraid not. Consolidate does just that. It consolidates multiple
tracks that have been virtually transferred to the arrangement perspective
into a single clip or file so that it can be arranged throughout your
material as you specify. I need individual tracks of audio that are
destructive edit ready.

In other words. The tracks that are output from Live's midi and audio
tracks are divided into bars in ALL audio without any of the automation crap
attached. This means that if I hot swapped instruments and effects 52 times
in a given track, an EXACT audio wav. file is recorded and preserved in full
edit ready fashion. Let's say you have 400 bars in a live session consisting
of 20 tracks. 10 tracks are audio and 10 tracks are midi. It's obvious that
what live outputs from it's audio tracks is going to be an exact
representation of what you monitor from the master during a performance.
Correct? I need the same from the midi tracks, that's all. Just an audio
representation of anything and everything that occurred in those midi tracks
as I improvised them during the time the set was being recorded.

I just want a TRUE audio log of each track as it's being created. I realize
that I could buy like 20-30 of those Tapeit plug ins, but that's a lot of
money from something that doesn't really contain edit capabilities and God
only knows how CPU intensive that would be.

On 2/6/08, Raul Bonell <raul.bonell@gmail.com> wrote:
>
> Did you read Pers' prior message?
> Maybe "Consolidate track" is what you are looking for...
>
> Raul.
>
> 2008/2/6, Bass Player <mrbigpantz@gmail.com>:
> >
> > Hi Tony
> > Thank you very much for the reply. These are some candid and respectful
> > queries in thought that I have concerning this issue.
> >
> > Why in the name of all that's ridiculously simple in terms of BASIC
> > needs isn't this feature available in Live itself? I'm clueless. It seems so
> > rudimentary doesn't it?
> >
> > It would seem like this would be possible via rewire. Is it? (and)  How
> > well will it work if I attempt to rewire a multi track editor like Audition
> > 3 directly to live?
> >
> > How about the option of routing the tracks out of Live to a different
> > computer? Can you tap the midi track's audio output and pipe it via ASIO to
> > a different computer?
> >
> > Thank you very much for even taking the time to read this. I must say
> > that I am completely at a loss for a logical reason that Ableton fails to
> > make this most basic of options available to it's users. I mean, isn't this
> > like DAW 101 or something? ie. Getting a synchronized audio feed from all of
> > a host's tracks that you are recording to?
> >
> > Please don't get the wrong idea. I do LOVE Live but it's inability to
> > preserve exact audio in the arrangement is mind boggling.
> >
> > Thanks Again,
> > Jeff
> >
> >
> >  On 2/6/08, Per Boysen <perboysen@gmail.com> wrote:
> > >
> > > On Feb 6, 2008 4:39 AM, Bass Player <mrbigpantz@gmail.com> wrote:
> > > > If that's the case unfortunately this is not even close to suiting
> > > my needs.
> > > > I simply need something to document in sync all the multi tracked
> > > audio
> > > > results of each individual track in an Ableton Live set as the set
> > > is being
> > > > created/recorded.
> > >
> > >
> > > I never posted in this thread because I think Rainer's suggestion
> > > would do that. As will also the Consolidate Track function in Live. If
> > > it gives you audio files on the drive that correspond to all tracks,
> > > at least I would regard that as "being in sync". Given you start those
> > > audio files at the same time, of course ;-)
> > >
> > > --
> > > Greetings from Sweden
> > >
> > > Per Boysen
> > > www.boysen.se (Swedish)
> > > www.looproom.com (international)
> > >
> > >
> >
>
>
> --
> The Playing Orchestra: http://www.telefonica.net/web2/tpo
> Chain Tape Collective: http://www.ct-collective.com
> TPO at myspace: http://www.myspace.com/theplayingorchestra
> TPO at Jamendo: http://www.jamendo.com
>

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<div>No, I&#39;m afraid not. Consolidate does just that. It consolidates multiple tracks that have been virtually transferred to the arrangement perspective into a single clip or file so that it can be arranged throughout your material as you specify. I need individual tracks of audio that are destructive edit ready. </div>

<div>&nbsp;</div>
<div>In other words. The tracks that are output from Live&#39;s midi and audio tracks&nbsp;are divided into bars in ALL audio without any of the automation crap attached. This means that if I hot swapped instruments and effects 52 times in a given track, an EXACT audio wav. file is recorded and preserved in full edit ready fashion. Let&#39;s say you have 400 bars in a live session consisting of 20 tracks. 10 tracks are audio and 10 tracks are midi. It&#39;s obvious that what live outputs&nbsp;from it&#39;s audio tracks is going to be an exact representation of what you monitor from the master&nbsp;during a performance. Correct? I need the same from the midi tracks, that&#39;s all. Just an audio representation of anything and everything that occurred in those midi tracks as I improvised them during the time the set was being recorded.&nbsp;</div>

<div>&nbsp;</div>
<div>I just want a TRUE audio log of each track as it&#39;s being created. I realize that I could buy like 20-30 of those Tapeit plug ins, but that&#39;s a lot of money from something that doesn&#39;t really contain edit capabilities and God only knows how CPU intensive that would be.</div>

<div>&nbsp;</div>
<div><span class="gmail_quote">On 2/6/08, <b class="gmail_sendername">Raul Bonell</b> &lt;<a href="mailto:raul.bonell@gmail.com">raul.bonell@gmail.com</a>&gt; wrote:</span>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Did you read Pers&#39; prior message?<br>Maybe &quot;Consolidate track&quot; is what you are looking for... <br>
<br>Raul.<br><br>
<div><span class="gmail_quote">2008/2/6, Bass Player &lt;<a onclick="return top.js.OpenExtLink(window,event,this)" href="mailto:mrbigpantz@gmail.com" target="_blank">mrbigpantz@gmail.com</a>&gt;:</span> 
<div><span class="e" id="q_117ef44dddcbdd0f_1">
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">
<div>Hi Tony</div>
<div>Thank you very much for the reply. These are some candid and respectful queries in thought that I have concerning this issue.</div>
<div>&nbsp;</div>
<div>Why in the name of all that&#39;s ridiculously simple in terms of BASIC needs isn&#39;t this feature available in Live itself? I&#39;m clueless. It seems so rudimentary doesn&#39;t it?</div>
<div>&nbsp;</div>
<div>It would seem like this would be possible via rewire. Is it? (and)&nbsp; How well will it work if I attempt to rewire a multi track editor like Audition 3 directly to live?</div>
<div>&nbsp;</div>
<div>How about the option of routing the tracks out of Live to a different computer? Can you tap the midi track&#39;s audio output and pipe it via ASIO to a different computer?</div>
<div>&nbsp;</div>
<div>Thank you very much for even taking the time to read this. I must say that I am completely at a loss for a logical reason that Ableton fails to make this most basic of options available to it&#39;s users. I mean, isn&#39;t this like DAW 101 or something? ie. Getting a synchronized audio feed from all of a host&#39;s tracks that you are recording to?</div>

<div>&nbsp;</div>
<div>Please don&#39;t get the wrong idea. I do LOVE Live but it&#39;s inability to preserve exact audio in the arrangement is mind boggling.</div>
<div>&nbsp;</div>
<div>Thanks Again,</div>
<div>Jeff<br><br>&nbsp;</div>
<div><span>
<div><span class="gmail_quote">On 2/6/08, <b class="gmail_sendername">Per Boysen</b> &lt;<a onclick="return top.js.OpenExtLink(window,event,this)" href="mailto:perboysen@gmail.com" target="_blank">perboysen@gmail.com</a>&gt; wrote:</span> 
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">On Feb 6, 2008 4:39 AM, Bass Player &lt;<a onclick="return top.js.OpenExtLink(window,event,this)" href="mailto:mrbigpantz@gmail.com" target="_blank">mrbigpantz@gmail.com</a>&gt; wrote:<br>
&gt; If that&#39;s the case unfortunately this is not even close to suiting my needs.<br>&gt; I simply need something to document in sync all the multi tracked audio<br>&gt; results of each individual track in an Ableton Live set as the set is being<br>
&gt; created/recorded.<br><br><br>I never posted in this thread because I think Rainer&#39;s suggestion<br>would do that. As will also the Consolidate Track function in Live. If<br>it gives you audio files on the drive that correspond to all tracks,<br>
at least I would regard that as &quot;being in sync&quot;. Given you start those<br>audio files at the same time, of course ;-)<br><br>--<br>Greetings from Sweden<br><br>Per Boysen<br><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.boysen.se/" target="_blank">www.boysen.se</a> (Swedish)<br>
<a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.looproom.com/" target="_blank">www.looproom.com</a> (international)<br><br></blockquote></div><br></span></div></blockquote></span></div></div><br>
<br clear="all">
<div><span class="e" id="q_117ef44dddcbdd0f_3"><br>-- <br>The Playing Orchestra: <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.telefonica.net/web2/tpo" target="_blank">http://www.telefonica.net/web2/tpo</a><br>
Chain Tape Collective: <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.ct-collective.com/" target="_blank">http://www.ct-collective.com</a><br>TPO at myspace: <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.myspace.com/theplayingorchestra" target="_blank">http://www.myspace.com/theplayingorchestra</a><br>
TPO at Jamendo: <a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.jamendo.com/" target="_blank">http://www.jamendo.com</a> </span></div></blockquote></div><br>

------=_Part_25857_30790913.1202311453227--

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Date: Wed, 6 Feb 2008 10:24:52 -0500
From: "Dennis Moser" <sinsofmachaut@gmail.com>
To: Loopers-Delight@loopers-delight.com
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Per,

I'm also on there ... I think they have me as my "performing name" of
"usr/sbin" ...

Dennis


On 2/6/08, Per Boysen <perboysen@gmail.com> wrote:
> HI,
>
> I just heard about Last.fm getting their act together in a new program
> of internet radio that legally honors both recording right holders
> (artists, performers, record labels) and music right holders
> (composers, publishers). This made me interested to check out the
> service - and I immediately started to enjoy the free stations! I also
> created an artist page as well as a user page. On the user page you
> can hook up with "friends", but I wasn't able to find any other way to
> do this than by letting the Last.fm software spam my gmail address
> book, or manually picked names, with invitations. I don't want do
> that, so now I'm wondering if anyone here knows a better way?
>
> If anyone here is already a member at Last.fm and want to hook up, you
> may find me as the user name "perboysen".
>
> Also, I tried the station based on the tag word "looping" and cello
> loopist of this list Zoe Keating came up first. Way cool! But most
> songs on that station was just ordinary "radio techno" with static
> loop samples. So the playlists over at Last.fm definitely need more
> live loopers to submit music. A new feature is that you can set
> submitted songs to "Full length preview" to make them eligible  for
> internet radio streaming. Another funny detail; when I joined in at
> Last.fm I found lots of my music already submitted! But there wasn't
> any problem at all to claim the songs as I was registering my artist
> profile. At their forum I learned that many other have experienced
> this too and I sent a mail to Last.fm to ask what to do. They answered
> back within just hours, which is great I think! It seems this service
> is well in line with the future (BTW just read Nokias report "A
> Glimpse of the Next Episode"
> http://www.nokia.com/A4136001?newsid=1172517)
>
> I remember someone posted here on Last.fm not long ago, but nothing
> came up on a search at this list's archive. Maybe the archive is
> lagging behind a couple of months? Or maybe I, or that poster,
> misspelled Last.fm?
>
> --
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>
>

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From: Os <os@collective.co.uk>
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Hi all,

I've just arranged a business trip to Toronto for next week. Anyone
got any recommendations?

Looks like I just missed out on the Ambient Ping, by a remarkable bit
of ill timing. Bah!


cheers,
os.

-- 
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

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From Loopers-Delight-request@loopers-delight.com  Wed Feb  6 16:25:34 2008
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--- Os <os@collective.co.uk> wrote:
> I've just arranged a business trip to Toronto for
> next week. Anyone
> got any recommendations?

If you're there on Monday, Feb. 11, and can handle a
late night downtown, I heartily recommend going to The
Orbit Room

http://www.orbitroom.ca/

to see Sisters Euclid

http://www.sisterseuclid.com

which includes Kevin Breit

http://www.myspace.com/kevinbreit

on guitar (and sometimes vocals). They usually do two
sets, the first starting around 10pm; the cover charge
is (IIRC) $7.

Musically, they're astounding. They have an amazing
confidence and fearlessness to their playing; seeing
Kevin play guitar (even slide) is jaw-dropping. In
genre terms, I guess they're a jazz band, but they
include rock, blues, funk, and groove elements as
well. They're not a "looping" act per se, but the last
time I saw them (2007-12-17), Kevin did some looping
of his guitar parts (more as seasoning than a main
course, if you get my drift).

The Orbit Room also has a really good selection of
Ontario micro-brews, if you dig beer.

Aloha,
Brad


      Looking for the perfect gift? Give the gift of Flickr! 

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Hi Os,

I like Hugh's room, www.hughsroom.com They have more folk based  
entertainment and also have great food.

Paul



Quoting Os <os@collective.co.uk>:

> Hi all,
>
> I've just arranged a business trip to Toronto for next week. Anyone
> got any recommendations?
>
> Looks like I just missed out on the Ambient Ping, by a remarkable bit
> of ill timing. Bah!
>
>
> cheers,
> os.
>
> --
> os@collective.co.uk
> http://www.darkroomtheband.net/
> http://www.expert-sleepers.co.uk/
>
>


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Date: Wed, 6 Feb 2008 17:48:30 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: tools
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>The more different two instruments
> sound, the better they work for playing the "questions and answers" game in
> music arranging.
>

On Feb 6, 2008 3:58 PM, Raul Bonell <raul.bonell@gmail.com> wrote:

> So you say that most oh these old techs work the same when
> applied to live-looping. I think this level needs a lot of practice

Definitely. But if you're used to mixing, just reverse the process
when looping. Apply treatments to sound BEFORE recording them instead
of AFTER as you do in mixing.


> The more complex your music gets the more you will be mixing instead of
> playing.
>
> Maybe this is why you limited your available Mobius track to just 4 or 5 of
> the 8 possible, isn't?... Mono or stereo?

Yes, that's right. I do like mixing as well but not mixing mixing with
playing ;-))
BTW, lately I've started using all 8 tracks in Mobius, but then I
treat them "en masse" by scripts. One advance in splitting parts over
many loops is that you can record them at different lengths so they
will play back together with more variation.


>
> Maybe with track groups/focus lock and mute in mobius, samplerstyle/mute in
> EDP and mobius too,...
>
> I'd be interested to know how some of you face this need.

With Mobius I keep the Mute Track commands on the computer's F-keys.
Just as the default of Ableton Live. Just be sure to free up the
F-keys from being used by the system.

Then I use the upper row of number keys for Focus Lock. This means I
can use my index finger to slide it right across 7 tracks, if I want
to target a command for all those track's loops in one blow.

In Mobius default settings I have tailored my own setup regarding
which commands shall follow Focus Lock and Group settings and which
commands that shall not. For example, I use that to work on one track
while let's say five other tracks are in Focus Lock Mode. With my
preferences settings SUSSubstitute will affect both the selected track
AND all Focus Locked track's loops. But my script for SUSSubstituting
bass notes (by Rate Shift +12 each time I substitute) will only affect
the selected track and not the Focus Locked. This way I can instantly
create a bass line (selected track) and a poly rhythmic (given the
Focus Locked tracks are not the same length or differently rate
shifted) percussive multi voice part. That's just one example. If you
think about it you may find others that work better for you.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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>
> On Feb 3, 2008 4:16 PM, Raul Bonell <raul.bonell@gmail.com> wrote:
> > ... what functions do you use to prevent too much sound activity?

> From: "Per Boysen" 2008/2/4, Per Boysen <perboysen@gmail.com>:
> Imagination and Silence. About half of each.
>
> I regret posting "Koan style" like that



> On Feb 6, 2008, at 9:58 AM, Raul Bonell wrote:
>
> No Per. I like them!
> Short and concise.
>
>

VERY  much agree w/ Raul. Please no regrets, Per, as the "Koan" is  
memorable, portable & quotable. Your detailed answer goes wonderfully  
in-depth.  It is equally worthy & valid -- just not as quickly  
expressed. Very grateful to have both. Generous & considerate  
thoughts -- extremely helpful insight / koan. Your suggested  "per"  
centage given is the coup de grace....

shine on, loopy diamonds....

Scott Duncan
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; "><div><blockquote =
type=3D"cite"><div><br><blockquote class=3D"gmail_quote" =
style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt =
0.8ex; padding-left: 1ex;"> <span class=3D"q"><blockquote =
class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, =
204); margin: 0px 0px 0px 0.8ex; padding-left: 1ex;"> On Feb 3, 2008 =
4:16 PM, Raul Bonell &lt;<a href=3D"mailto:raul.bonell@gmail.com" =
target=3D"_blank" onclick=3D"return =
top.js.OpenExtLink(window,event,this)">raul.bonell@gmail.com</a>&gt; =
wrote:<br></blockquote><blockquote>&gt; ... what functions do you use to =
prevent too much sound =
activity?</blockquote></span></blockquote></div></blockquote><br><blockquo=
te type=3D"cite"><div><blockquote class=3D"gmail_quote" =
style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt =
0.8ex; padding-left: 1ex;"><blockquote>From: "Per Boysen"=A0<span =
class=3D"Apple-style-span" style=3D"-webkit-text-stroke-width: -1; =
">2008/2/4, Per Boysen &lt;<a =
href=3D"mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;:</span></b=
lockquote><span class=3D"q"><blockquote>Imagination and Silence. About =
half of each.<br></blockquote><div><br></div></span>I regret posting =
"Koan style" like that</blockquote></div></blockquote><div><br =
class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><br><blockquote =
type=3D"cite"><div><blockquote class=3D"gmail_quote" style=3D"border-left:=
 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: =
1ex;"> </blockquote> <div><span class=3D"Apple-style-span" =
style=3D"-webkit-text-stroke-width: -1; ">On Feb 6, 2008, at 9:58 AM, =
Raul Bonell wrote:</span></div></div></blockquote><blockquote =
type=3D"cite"><div><div><br>No Per. I like them!<br>Short and =
concise.<br><br></div></div><br></blockquote></div><br><div>VERY =A0much =
agree w/ Raul. Please no regrets, Per, as the "Koan" is memorable, =
portable &amp; quotable. Your detailed answer goes wonderfully in-depth. =
=A0It is equally worthy &amp; valid -- just not as quickly expressed. =
Very grateful to have both. Generous &amp; considerate thoughts -- =
extremely helpful insight / koan. Your suggested =A0"per" centage given =
is the coup de grace....=A0</div><div><br =
class=3D"webkit-block-placeholder"></div><div>shine on, loopy =
diamonds....</div><div><br =
class=3D"webkit-block-placeholder"></div><div>Scott =
Duncan</div></body></html>=

--Apple-Mail-1-669434474--

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Bass Player wrote:

>  
> I just want a TRUE audio log of each track as it's being created. I 
> realize that I could buy like 20-30 of those Tapeit plug ins, but that's 
> a lot of money from something that doesn't really contain edit 
> capabilities and God only knows how CPU intensive that would be.
>  

um..you only have to buy a plugin once, and you can open as many instances
as you like. It's only $19.
Processor usage will be the same as if Live was writing the files for you
(well, as near as makes no difference).

Rainer gave you brilliant advice there.

andy butler

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Date: Wed, 6 Feb 2008 18:54:37 +0100
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> Bass Player wrote:
>
> >
> > I just want a TRUE audio log of each track as it's being created. I
> > realize that I could buy like 20-30 of those Tapeit plug ins, but that's
> > a lot of money from something that doesn't really contain edit
> > capabilities and God only knows how CPU intensive that would be.


I use to connect a second computer via ADAT to digitally pipe over
channels as they are happening on the performance machine. Not as many
channels as you are asking for but maybe you can pope over sub mixes?

Another tip, if using Bidule, is to cable up the Audi File Recorder
module. I do that when looping away like crazy in Mobius and after my
session there are 18 perfectly synced audio files to fetch inside a
folder on the hard disc. I'm amazed that recording to disc doesn't
seem to use any CPU power.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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Subject: RE: Ableton Live & The best way to multi track.
Date: Wed, 6 Feb 2008 13:00:42 -0500
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Doesn't Live record all tracks as you perform? This includes cell selection,
controller movement, etc.

> -----Original Message-----
> From: andy butler [mailto:akbutler@tiscali.co.uk]
> Sent: Wednesday, February 06, 2008 12:46 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: Ableton Live & The best way to multi track.
> 
> 
> 
> Bass Player wrote:
> 
> >
> > I just want a TRUE audio log of each track as it's being created. I
> > realize that I could buy like 20-30 of those Tapeit plug ins, but that's
> > a lot of money from something that doesn't really contain edit
> > capabilities and God only knows how CPU intensive that would be.
> >
> 
> um..you only have to buy a plugin once, and you can open as many instances
> as you like. It's only $19.
> Processor usage will be the same as if Live was writing the files for you
> (well, as near as makes no difference).
> 
> Rainer gave you brilliant advice there.
> 
> andy butler

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Date: Wed, 6 Feb 2008 10:29:41 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Last.fm?
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I wish they'd get their act together regarding their UI design, because
every time I log in to the damn thing, it takes me forever to find the page
that I want to add or update some information (upcoming gigs comes to
mind).  Or more frequently, to not find it and give up in disgust.  Worse
than myspace.

TH

On Feb 6, 2008 5:07 AM, Per Boysen <perboysen@gmail.com> wrote:

> HI,
>
> I just heard about Last.fm getting their act together in a new program
> of internet radio that legally honors both recording right holders
> (artists, performers, record labels) and music right holders
> (composers, publishers)....blah...blah....blah...

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I wish they&#39;d get their act together regarding their UI design, because every time I log in to the damn thing, it takes me forever to find the page that I want to add or update some information (upcoming gigs comes to mind).&nbsp; Or more frequently, to not find it and give up in disgust.&nbsp; Worse than myspace.<br>
<br>TH<br><br><div class="gmail_quote">On Feb 6, 2008 5:07 AM, Per Boysen &lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
HI,<br><br>I just heard about <a href="http://Last.fm" target="_blank">Last.fm</a> getting their act together in a new program<br>of internet radio that legally honors both recording right holders<br>(artists, performers, record labels) and music right holders<br>
(composers, publishers)....blah...blah....blah...</blockquote></div><br>

------=_Part_18556_25731755.1202322581516--

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From: financialo2@comcast.net
Subject: LOAN OFFER AT LOW INTEREST RATE OF 5%/Oferta de préstamo a bajo tipo de interés del 5%
Date: Wed, 06 Feb 2008 19:23:27 +0000
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Gracias 
Abrazo

From Loopers-Delight-request@loopers-delight.com  Wed Feb  6 20:16:07 2008
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Date: Wed, 6 Feb 2008 15:16:03 -0500
From: "Bass Player" <mrbigpantz@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Ableton Live & The best way to multi track.
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I just wanted to take a moment and sincerely THANK everyone for their
gracious replies. I mean it. I had attempted to clarify whether you
had to purchase each instance of Tapeit and Andy's was the first such
response I received. Even from Silverspike. No reply from them yet.
Now that I know I can purchase Tapeit2 for 20.00 total after thinking
I might have to purchase 20 separate licenses, well lets just say I
feel a little less burdened.

I had posted these queries on many forums prior to finding real
expertise here and I must say that I am slightly amazed by the insight
I received on LD. MR. Per, Rainer, Tony, etc. (and all those I can't
remember) Thank you so much.

Jeff


On 2/6/08, Bill Edmondson <edmondson5@comcast.net> wrote:
> Doesn't Live record all tracks as you perform? This includes cell selection,
> controller movement, etc.
>
> > -----Original Message-----
> > From: andy butler [mailto:akbutler@tiscali.co.uk]
> > Sent: Wednesday, February 06, 2008 12:46 PM
> > To: Loopers-Delight@loopers-delight.com
> > Subject: Re: Ableton Live & The best way to multi track.
> >
> >
> >
> > Bass Player wrote:
> >
> > >
> > > I just want a TRUE audio log of each track as it's being created. I
> > > realize that I could buy like 20-30 of those Tapeit plug ins, but that's
> > > a lot of money from something that doesn't really contain edit
> > > capabilities and God only knows how CPU intensive that would be.
> > >
> >
> > um..you only have to buy a plugin once, and you can open as many instances
> > as you like. It's only $19.
> > Processor usage will be the same as if Live was writing the files for you
> > (well, as near as makes no difference).
> >
> > Rainer gave you brilliant advice there.
> >
> > andy butler
>
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb  6 21:06:34 2008
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Date: Wed, 6 Feb 2008 13:06:30 -0800 (PST)
From: ditch wrestler <ditchwrestler@yahoo.com>
Subject: Re: toronto, next week
To: Loopers-Delight@loopers-delight.com
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If you're into the creative/improv music end of things, Somewhere There has two good acts on next Thursday and Saturday 
http://www.somewherethere.org/calendar.php

And the nice folks at the Assoc. of Improvising Musicians Toronto (aimt) have their Friday night Leftover Daylight series http://www.ovalwindowmusic.org/leftoverdaylight/main.php  It looks like Canadian Renaissance man, Michael Snow (painter, photographer, videographer) is playing in the last act on Friday the 15 and 22. http://en.wikipedia.org/wiki/Michael_Snow

The free weekly is Now Magazine - http://www.nowtoronto.com; check out their music listing for what's up.

There's plenty of big music stores - Steve's, Long & McQuade -but I'm not sure about small/freaky stores other than this one - http://www.capsulemusic.com/

Got anything in particular you're looking for, Os?


ted.


Os <os@collective.co.uk> wrote: Hi all,

I've just arranged a business trip to Toronto for next week. Anyone
got any recommendations?

Looks like I just missed out on the Ambient Ping, by a remarkable bit
of ill timing. Bah!


cheers,
os.

-- 
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/




"Indeed, naturally I think that a film should have a beginning, middle, and an end — but not necessarily in that order."   Jean Luc Goddard
       
---------------------------------
Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
--0-195821350-1202331990=:46231
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If you're into the creative/improv music end of things, Somewhere There has two good acts on next Thursday and Saturday <br>http://www.somewherethere.org/calendar.php<br><br>And the nice folks at the Assoc. of Improvising Musicians Toronto (aimt) have their Friday night Leftover Daylight series http://www.ovalwindowmusic.org/leftoverdaylight/main.php&nbsp; It looks like Canadian Renaissance man, Michael Snow (painter, photographer, videographer) is playing in the last act on Friday the 15 and 22. http://en.wikipedia.org/wiki/Michael_Snow<br><br>The free weekly is Now Magazine - http://www.nowtoronto.com; check out their music listing for what's up.<br><br>There's plenty of big music stores - Steve's, Long &amp; McQuade -but I'm not sure about small/freaky stores other than this one - http://www.capsulemusic.com/<br><br>Got anything in particular you're looking for, Os?<br><br><br>ted.<br><br><br><b><i>Os &lt;os@collective.co.uk&gt;</i></b> wrote:<blockquote class="replbq"
 style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"> Hi all,<br><br>I've just arranged a business trip to Toronto for next week. Anyone<br>got any recommendations?<br><br>Looks like I just missed out on the Ambient Ping, by a remarkable bit<br>of ill timing. Bah!<br><br><br>cheers,<br>os.<br><br>-- <br>os@collective.co.uk<br>http://www.darkroomtheband.net/<br>http://www.expert-sleepers.co.uk/<br><br></blockquote><br><BR><BR>"Indeed, naturally I think that a film should have a beginning, middle, and an end — but not necessarily in that order."   Jean Luc Goddard<p>&#32;
      <hr size=1>Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile. <a href="http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ "> Try it now.</a>
--0-195821350-1202331990=:46231--

From Loopers-Delight-request@loopers-delight.com  Wed Feb  6 21:15:09 2008
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References: <224D69DE-DD71-4E91-8F70-F02DDDE8BE0F@mac.com>
Subject: Re: Eventide Time Factor
Date: Wed, 6 Feb 2008 21:15:16 -0000
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Hi Chris,
Just spotted your email again, I'd kept it from a while ago.

Firstly, the TimeFactor is (in my view) an exceptional delay pedal with 
incredibly good sounding delay models, great flexibility and lots of options 
for external control (MIDI, very flexibly assignable external footswitches 
and expression pedal). It isn't primarily a looper, although for a 12 second 
unit, it is very well featured with various play and overdub modes, loop 
feedback and filtering that can be changed on the fly or via 
footswitches/pedal. It can shift the loop very flexibly too to quarter speed 
(48 seconds), or in fifths, semitones, octaves, etc. you can move the start 
& end points of a loop (again with external control (or MIDDI). There is a 
glitch at the loop crossover point which has improved a little with a 
software revision but I'd really need it to be silent otherwise the glitch 
intrudes upon notes that cross over the loop point. The looper is in mono 
and doesn't have a delay of its own (unfortunately). Usefully, you can save 
the looper as a programme and as such, can save different versions with 
different settings.

I am just starting to use the looper a little but mainly use it for all its 
wonderful delays and controllability. One of the most important things about 
this unit is that it has a USB port and is already being upgraded, V2(beta 
version so far) already fixes some major limitations of V1. To have a pedal 
where the manufacturer seem to be taking upgrades very seriously is great 
(and about time too). It is expensive. One critisism I do have (which cannot 
be mended in an upgrade) is that the box is a couple of inches shorter than 
I'd like - I find the footswitches closer together than I like.

Hope that's useful info.

Ian.

----- Original Message ----- 
From: "Chris Sewell" <lunamusic@mac.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, January 29, 2008 11:02 PM
Subject: Eventide Time Factor


>I assume people are using this pedal. Im curious as to how it works  as a 
>looper. Does it output in stereo as a looper? Is there  overdubbing? Any 
>Roland like hiccups when going from record to play?  I'm guessing the sound 
>quality is fantastic.
> Any thoughts would be appreciated.
> Regards,
> Chris
>
>
> 



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From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 00:14:05 2008
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From: Chris Sewell <lunamusic@mac.com>
Subject: Re: Eventide Time Factor
Date: Wed, 6 Feb 2008 19:13:58 -0500
To: Loopers-Delight@loopers-delight.com
X-Mailer: Apple Mail (2.752.2)
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Thanks Ian.
On Feb 6, 2008, at 4:15 PM, Ian Popperwell wrote:

> Hi Chris,
> Just spotted your email again, I'd kept it from a while ago.
>
> Firstly, the TimeFactor is (in my view) an exceptional delay pedal  
> with incredibly good sounding delay models, great flexibility and  
> lots of options for external control (MIDI, very flexibly  
> assignable external footswitches and expression pedal). It isn't  
> primarily a looper, although for a 12 second unit, it is very well  
> featured with various play and overdub modes, loop feedback and  
> filtering that can be changed on the fly or via footswitches/pedal.  
> It can shift the loop very flexibly too to quarter speed (48  
> seconds), or in fifths, semitones, octaves, etc. you can move the  
> start & end points of a loop (again with external control (or  
> MIDDI). There is a glitch at the loop crossover point which has  
> improved a little with a software revision but I'd really need it  
> to be silent otherwise the glitch intrudes upon notes that cross  
> over the loop point. The looper is in mono and doesn't have a delay  
> of its own (unfortunately). Usefully, you can save the looper as a  
> programme and as such, can save different versions with different  
> settings.
>
> I am just starting to use the looper a little but mainly use it for  
> all its wonderful delays and controllability. One of the most  
> important things about this unit is that it has a USB port and is  
> already being upgraded, V2(beta version so far) already fixes some  
> major limitations of V1. To have a pedal where the manufacturer  
> seem to be taking upgrades very seriously is great (and about time  
> too). It is expensive. One critisism I do have (which cannot be  
> mended in an upgrade) is that the box is a couple of inches shorter  
> than I'd like - I find the footswitches closer together than I like.
>
> Hope that's useful info.
>
> Ian.
>
> ----- Original Message ----- From: "Chris Sewell" <lunamusic@mac.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Tuesday, January 29, 2008 11:02 PM
> Subject: Eventide Time Factor
>
>
>> I assume people are using this pedal. Im curious as to how it  
>> works  as a looper. Does it output in stereo as a looper? Is  
>> there  overdubbing? Any Roland like hiccups when going from record  
>> to play?  I'm guessing the sound quality is fantastic.
>> Any thoughts would be appreciated.
>> Regards,
>> Chris
>>
>>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 01:06:02 2008
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From: Teddy Kumpel <teddybut@mac.com>
Subject: Re: Eventide Time Factor
Date: Wed, 6 Feb 2008 19:58:32 -0500
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I don't notice the glitch in the looper mode. So, if there is a  
glitch, it's NOTHING like the RC50 glitch, which is like a 200ms  
glitch. Also, like Ian said, you can make the looper do 48 seconds by  
using 1/4 time mode. the sound quality doesn't suffer much that way  
like other pedals. I also love that you can make presets that save  
the looper time and if you've made a loop in one time/preset and go  
to another preset it keeps the loop going and changes the pitch to  
the next preset's time. VERY COOL.

The only thing I miss is reverse looping. Other than that it's a  
fantastic box.
I'm sure they will upgrade it to do reverse looping soon as it is one  
of the most requested features.

tk


On Feb 6, 2008, at 4:15 PM, Ian Popperwell wrote:

> Hi Chris,
> Just spotted your email again, I'd kept it from a while ago.
>
> Firstly, the TimeFactor is (in my view) an exceptional delay pedal  
> with incredibly good sounding delay models, great flexibility and  
> lots of options for external control (MIDI, very flexibly  
> assignable external footswitches and expression pedal). It isn't  
> primarily a looper, although for a 12 second unit, it is very well  
> featured with various play and overdub modes, loop feedback and  
> filtering that can be changed on the fly or via footswitches/pedal.  
> It can shift the loop very flexibly too to quarter speed (48  
> seconds), or in fifths, semitones, octaves, etc. you can move the  
> start & end points of a loop (again with external control (or  
> MIDDI). There is a glitch at the loop crossover point which has  
> improved a little with a software revision but I'd really need it  
> to be silent otherwise the glitch intrudes upon notes that cross  
> over the loop point. The looper is in mono and doesn't have a delay  
> of its own (unfortunately). Usefully, you can save the looper as a  
> programme and as such, can save different versions with different  
> settings.
>
> I am just starting to use the looper a little but mainly use it for  
> all its wonderful delays and controllability. One of the most  
> important things about this unit is that it has a USB port and is  
> already being upgraded, V2(beta version so far) already fixes some  
> major limitations of V1. To have a pedal where the manufacturer  
> seem to be taking upgrades very seriously is great (and about time  
> too). It is expensive. One critisism I do have (which cannot be  
> mended in an upgrade) is that the box is a couple of inches shorter  
> than I'd like - I find the footswitches closer together than I like.
>
> Hope that's useful info.
>
> Ian.
>
> ----- Original Message ----- From: "Chris Sewell" <lunamusic@mac.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Tuesday, January 29, 2008 11:02 PM
> Subject: Eventide Time Factor
>
>
>> I assume people are using this pedal. Im curious as to how it  
>> works  as a looper. Does it output in stereo as a looper? Is  
>> there  overdubbing? Any Roland like hiccups when going from record  
>> to play?  I'm guessing the sound quality is fantastic.
>> Any thoughts would be appreciated.
>> Regards,
>> Chris

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 01:06:58 2008
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Date: Wed, 6 Feb 2008 17:06:56 -0800 (PST)
From: Paul Richards <paulrichard_rocks@yahoo.com>
Subject: Electro Harmonix 2880 a good choice for a looper
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I've liked this unit for the price point and features. However, am I smoking something or am I correct in understanding this unit has only a one loop capability with multiple 'tracks' -and- the ability to bounce tracks?
   
  I've begun using simpler gear (currently have a Boss RC-2) but I would like the capability to create at least three different loops to switch between. Doesn't seem like the 2880 can do that. In that case maybe the Rc-50 (with all its warts) would be a better choice.
   
  Regards, Paul



       
---------------------------------
Looking for last minute shopping deals?  Find them fast with Yahoo! Search.
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<div>I've liked this unit for the price point and features. However, am I smoking something or am I correct in understanding this unit has only a one loop capability with multiple 'tracks' -and- the ability to bounce tracks?</div>  <div>&nbsp;</div>  <div>I've begun using simpler gear (currently have a Boss RC-2) but I would like the capability to create at least three different loops to switch between. Doesn't seem like the 2880 can do that. In that case maybe the Rc-50 (with all its warts) would be a better choice.</div>  <div>&nbsp;</div>  <div>Regards, Paul<BR><BR></div><p>&#32;
      <hr size=1>Looking for last minute shopping deals? <a href="http://us.rd.yahoo.com/evt=51734/*http://tools.search.yahoo.com/newsearch/category.php?category=shopping"> 
Find them fast with Yahoo! Search.</a>
--0-1519597195-1202346416=:66884--

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 02:22:29 2008
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From: Paul Mimlitsch <pmimlitsch@mac.com>
Subject: RC50 (Re: Electro Harmonix 2880 a good choice for a looper)
Date: Wed, 6 Feb 2008 19:26:40 -0700
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Paul;
If you're just looking to have 3 independent loops, the ability to  
fade out/ in each one independently, switch between them for  
layering, sync or unsync them, switch from overdub to replace mode on  
the fly, then the RC50 will fit the bill and you shouldn't encounter  
any "warts" - I haven't, anyway.  Do install the upgrade, though. - Paul

On Feb 6, 2008, at 6:06 PM, Paul Richards wrote:

> I've liked this unit for the price point and features. However, am  
> I smoking something or am I correct in understanding this unit has  
> only a one loop capability with multiple 'tracks' -and- the ability  
> to bounce tracks?
>
> I've begun using simpler gear (currently have a Boss RC-2) but I  
> would like the capability to create at least three different loops  
> to switch between. Doesn't seem like the 2880 can do that. In that  
> case maybe the Rc-50 (with all its warts) would be a better choice.
>
> Regards, Paul
>
>
> Looking for last minute shopping deals? Find them fast with Yahoo!  
> Search.


--Apple-Mail-1-705701493
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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">Paul;<DIV>If you're just looking =
to have 3 independent loops, the ability to fade out/ in each one =
independently, switch between them for layering, sync or unsync them, =
switch from overdub to replace mode on the fly, then the RC50 will fit =
the bill and you shouldn't encounter any "warts" - I haven't, anyway.=A0 =
Do install the upgrade, though. - Paul</DIV><DIV><BR><DIV><DIV>On Feb 6, =
2008, at 6:06 PM, Paul Richards wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite"><DIV>I've =
liked this unit for the price point and features. However, am I smoking =
something or am I correct in understanding this unit has only a one loop =
capability with multiple 'tracks' -and- the ability to bounce =
tracks?</DIV>  <DIV>=A0</DIV>  <DIV>I've begun using simpler gear =
(currently have a Boss RC-2) but I would like the capability to create =
at least three different loops to switch between. Doesn't seem like the =
2880 can do that. In that case maybe the Rc-50 (with all its warts) =
would be a better choice.</DIV>  <DIV>=A0</DIV>  <DIV>Regards, =
Paul<BR><BR></DIV><DIV>       <BR =
class=3D"khtml-block-placeholder"></DIV><HR size=3D"1">Looking for last =
minute shopping deals? <A =
href=3D"http://us.rd.yahoo.com/evt=3D51734/*http://tools.search.yahoo.com/=
newsearch/category.php?category=3Dshopping"> Find them fast with Yahoo! =
Search.</A></BLOCKQUOTE></DIV><BR></DIV></BODY></HTML>=

--Apple-Mail-1-705701493--

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 02:55:48 2008
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Date: Wed, 06 Feb 2008 20:55:20 -0600
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Subject: EH micro POG
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Does anyone have an Electro-Hamonix Mirco POG lying around that they 
would be willing to part with? For sale or trade.

Thanks,
Daniel

dgd0460@gmail.com

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 02:57:41 2008
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Date: Wed, 06 Feb 2008 21:00:16 -0600
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On Feb 6, 2008, at 8:55 PM, Daniel Dingeldein wrote:

> Does anyone have an Electro-Hamonix Mirco POG lying around that  
> they would be willing to part with? For sale or trade.

If you haven't done so already, you might want to put up a WTD ad at  
thegearpage.net. The amount of gear/pedals that is bought, sold,  
traded there daily is pretty astounding, imho.

Jeff

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 03:33:37 2008
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Date: Wed, 6 Feb 2008 19:33:35 -0800 (PST)
From: K D Patten <kdpatten@yahoo.com>
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lurker surfacing here.....I've been cruising eBay looking for one my self....seems my Electro-Hamonix octiver freaks out when i try to loop base lines with my acoustic...weird harmonics....i though the Mirco POG wouldn't freak like that ....any one have any input?....I'll keep my eye open for you as well   Daniel..........Kyle

Daniel Dingeldein <dgd0460@gmail.com> wrote: Does anyone have an Electro-Hamonix Mirco POG lying around that they 
would be willing to part with? For sale or trade.

Thanks,
Daniel

dgd0460@gmail.com




Kyle Dean PattenP.O. Box 22Johnston, IA  50131 http://www.cdbaby.com/cd/kdpatten

--0-1174917738-1202355215=:43434
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lurker surfacing here.....I've been cruising eBay looking for one my self....seems my Electro-Hamonix octiver freaks out when i try to loop base lines with my acoustic...weird harmonics....i though the Mirco POG wouldn't freak like that ....any one have any input?....I'll keep my eye open for you as well&nbsp;  Daniel..........Kyle<br><br><b><i>Daniel Dingeldein &lt;dgd0460@gmail.com&gt;</i></b> wrote:<blockquote class="replbq" style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"> Does anyone have an Electro-Hamonix Mirco POG lying around that they <br>would be willing to part with? For sale or trade.<br><br>Thanks,<br>Daniel<br><br>dgd0460@gmail.com<br><br></blockquote><br><BR><BR><DIV>
<ADDRESS><FONT color=#bf00bf size=4>Kyle Dean Patten</FONT></ADDRESS>
<ADDRESS>P.O. Box 22</ADDRESS>
<ADDRESS>Johnston, IA&nbsp; 50131</ADDRESS>
<ADDRESS>&nbsp;</ADDRESS>
<ADDRESS><A href="http://www.cdbaby.com/cd/kdpatten">http://www.cdbaby.com/cd/kdpatten</A></ADDRESS></DIV>
--0-1174917738-1202355215=:43434--

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 08:54:50 2008
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The tracking on the MicroPog is excellent.
The sub-octave works really well, without latency, some sort of hybrid between a harmoniser and a regular octaver. Odd tone though, try before you buy.
The octave up also tracks perfectly, but with a slight delay and somewhat flat in pitch.
The much publicised "polyphonic" ability only works well on very simple chords. 

The dry signal coming through the pedal, when switched on, sounded every bit as good as the hard bypass.

If you didn't ever check out the old Boss OC2, that has pretty good tracking;
despite it's cheap sound it's a classic.

andy butler


K D Patten wrote:
> lurker surfacing here.....I've been cruising eBay looking for one my 
> self....seems my Electro-Hamonix octiver freaks out when i try to loop 
> base lines with my acoustic...weird harmonics....i though the Mirco POG 
> wouldn't freak like that ....any one have any input?....I'll keep my eye 
> open for you as well  Daniel..........Kyle
> 

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 09:09:59 2008
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From: Matt Stevens <mattstevensguitar@btinternet.com>
Subject: Re: OT:Re: EH micro POG micro review
Date: Thu, 7 Feb 2008 09:09:55 +0000
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I want one!!! Can you take out the guitar signal to play a bass line?

On 7 Feb 2008, at 08:54, andy butler wrote:

> The tracking on the MicroPog is excellent.
> The sub-octave works really well, without latency, some sort of  
> hybrid between a harmoniser and a regular octaver. Odd tone though,  
> try before you buy.
> The octave up also tracks perfectly, but with a slight delay and  
> somewhat flat in pitch.
> The much publicised "polyphonic" ability only works well on very  
> simple chords.
> The dry signal coming through the pedal, when switched on, sounded  
> every bit as good as the hard bypass.
>
> If you didn't ever check out the old Boss OC2, that has pretty good  
> tracking;
> despite it's cheap sound it's a classic.
>
> andy butler
>
>
> K D Patten wrote:
>> lurker surfacing here.....I've been cruising eBay looking for one  
>> my self....seems my Electro-Hamonix octiver freaks out when i try  
>> to loop base lines with my acoustic...weird harmonics....i though  
>> the Mirco POG wouldn't freak like that ....any one have any  
>> input?....I'll keep my eye open for you as well  Daniel..........Kyle
>

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hi Matt,
Yes, you get to freely mix oct-down, dry, and oct-up.
...and you should have one for those nice dubby basslines you throw in on occasion :-)
(try before you buy tho', it has quite an odd tone)

However, why not just use your DL4 to create basslines.
a number of ways to arrange it,
for instance:-

1) Before record, go into halfspeed
2) Create a rhythm loop ( sounding at normal speed )
3) hit the halfspeed button again, to make the rhythm sound at double speed
4) overdub your bassline, playing it at twice the usual speed
5) hit halfspeed button again
6) look smug

Or do it the 'Bernhard Wagner' way with an OC2.
Which I think is:-
Octave 1 full up, Octave 2 full down.
..and mix in just enough dry signal so that it makes the synthetic octave sound like a bass guitar.



andy butler




Matt Stevens wrote:
> I want one!!! Can you take out the guitar signal to play a bass line?
> 
> On 7 Feb 2008, at 08:54, andy butler wrote:
> 
>> The tracking on the MicroPog is excellent.
>> The sub-octave works really well, without latency, some sort of hybrid 
>> between a harmoniser and a regular octaver. Odd tone though, try 
>> before you buy.
>> The octave up also tracks perfectly, but with a slight delay and 
>> somewhat flat in pitch.
>> The much publicised "polyphonic" ability only works well on very 
>> simple chords.
>> The dry signal coming through the pedal, when switched on, sounded 
>> every bit as good as the hard bypass.
>>
>> If you didn't ever check out the old Boss OC2, that has pretty good 
>> tracking;
>> despite it's cheap sound it's a classic.
>>
>> andy butler
>>
>>
>> K D Patten wrote:
>>> lurker surfacing here.....I've been cruising eBay looking for one my 
>>> self....seems my Electro-Hamonix octiver freaks out when i try to 
>>> loop base lines with my acoustic...weird harmonics....i though the 
>>> Mirco POG wouldn't freak like that ....any one have any 
>>> input?....I'll keep my eye open for you as well  Daniel..........Kyle
>>
> 
> 

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From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen to Afterglow, Galactic Travels, and The AM/FM Show
To: undisclosed-recipients: ;
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AFTERGLOW ON WMUH:                      http://soundscapes.us/afterglow
=======================================================================
Afterglow airs from 8:00 am to 9:30 am every Thursday morning.  Tune in
for a delightful mix of eclectic musical genres including a healthy
dose of Progressive Rock.  Tune in at 91.7 FM or on the internet at:
http://muhlenberg.edu/wmuh
Check out Afterglow on MySpace at:
http://myspace.com/afterglowonwmuh


GALACTIC TRAVELS ON WDIY:                   http://galactictravels.info
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll begin a month-long Special
focus on Manikin Records.  The Featured CD at Midnight will be disk 1
from "First Decade 1992 - 2002" on Manikin Records.  For details, see
the Special Focus page at:
http://wdiy.org/programs/gt/playlists/2008/focus.html#feb
Check out Galactic Travels on MySpace at:
http://myspace.com/galactictravels

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, on the internet, and in High Definition Radio at 88.1
FM.


THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be Saturday, February 9 at 6:00
am.  I will start a special on Sequences Electronic Music Magazine's
sampler CDs.

Tune in to WMUH Allentown at 91.7 FM, broadcasting from the campus of
Muhlenberg College.  I alternate hosting the show with Bruce.  When I
am at the helm, the show features electronic, ambient, and spacemusic
at the beginning, an eclectic mix of genres in the middle, and winds
up with Progressive Rock.  WMUH's web site is
http://muhlenberg.edu/wmuh


======================================================================
All times are EST / GMT-5.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 11:52:37 2008
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Subject: RE: OT:Re: EH micro POG micro review
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--_c494e362-9a6b-4728-85da-f007a517ee04_
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I would like to chuck in a recommendation for the boss OC-3
I have tried pretty much all the octave units that I have come across here =
in the UK I started with the little danelectro unitwhich actually had a rea=
lly good tone, just coupled with monophonic "ok" tracking.
I then updated this with the boss delay/pitchshifter.. this is an awsome pe=
dal that is still on my  board due to its self-oscilation capability i foun=
d the bass octave to quiet to be useful for my needs though. I then got the=
 OC2 and used it a fair bit bu never really fell in love with it, for my ne=
eds creating faux bass on acoustic guitar is just didnt sound right, I also=
 dipped into multi fx that promised octaves bu delivered very little in tha=
t department either glitching like buggery or adding massive delays to the =
octave note....then along came the oc3
=20
for me the OC3 is the real deal the polyphonic mode is truly that and coupl=
ed with the range knob it can be set like i have, so the bass only effects =
the lower three guitar strings so i can get meaty bass notes on them but st=
ill be plucking away on the high strings without them getting muddy. anothe=
r plus for me is it sustains the bass notes well , this has been a problem =
for me with other pedals
=20
it also has mono modes with a deep deep 2 down sub octave , however for my =
needs i stick in poly inless i knock the knob (which then nealy blows the h=
ouse speakers with aforementioned subbass.
                                                              bass overdriv=
e ---to mixer
i also route mine so it goes...guitar---oc3---<
                                                               all other gu=
itar fx----mixer
=20
I find this set up lets me put some distortion on the guitar but keep the b=
ass clean and clear  or I can have these wonderful fuzz bass notes while pl=
aying more inricate clear guitar stuff on the high strings ...it really is =
a flexible pedal, I have gone midi and use the basses from my gr-09 most th=
e time, but its still on the board and gets used in some applications like =
when im firing off a synth string patch and just need to thincked the low e=
nd up further.=20
=20
=20
Regards
=20
Phill MyOneManBand Wilson
> If you didn't ever check out the old Boss OC2, that has pretty good track=
ing;> despite it's cheap sound it's a classic.
_________________________________________________________________
Who's friends with who and co-starred in what?
http://www.searchgamesbox.com/celebrityseparation.shtml=

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<body class=3D'hmmessage'>
<BR>I would like to chuck in a recommendation for the boss OC-3<BR>
I have tried pretty much all the octave units that I have come across here =
in the UK I started with the little danelectro unitwhich actually had a rea=
lly good tone, just coupled with monophonic "ok" tracking.<BR>
I then updated this with the boss delay/pitchshifter.. this&nbsp;is an awso=
me pedal that is still on my &nbsp;board due to its self-oscilation capabil=
ity i found the bass octave to quiet to be useful for my needs though. I th=
en got the OC2 and used it a fair bit bu never really fell in love with it,=
 for my needs creating faux bass on acoustic guitar is just didnt sound rig=
ht, I also dipped into multi fx that promised octaves bu delivered very lit=
tle in that department either glitching like buggery or adding massive dela=
ys to the octave note....then along came the oc3<BR>
&nbsp;<BR>
for me the OC3 is the real deal the polyphonic mode is truly that and coupl=
ed with the range knob it can be set like i have, so the bass only effects =
the lower three guitar strings so i can get meaty bass notes on them but st=
ill be plucking away on the high strings without them getting muddy. anothe=
r plus for me is it sustains the bass notes well , this has been a problem =
for me with other pedals<BR>
&nbsp;<BR>
it also has mono modes with a deep deep 2 down sub octave , however for my =
needs i stick in poly inless i knock the knob (which then nealy blows the h=
ouse speakers with aforementioned subbass.<BR>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; bass&nbs=
p;overdrive ---to mixer<BR>
i also route mine so it goes...guitar---oc3---&lt;<BR>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; al=
l other guitar fx----mixer<BR>
&nbsp;<BR>
I find this set up lets me put some distortion on the guitar but keep the b=
ass clean and clear&nbsp; or I can have these wonderful fuzz bass notes whi=
le playing more inricate clear guitar stuff on the high strings ...it reall=
y is a flexible pedal, I have gone midi and use the basses from my gr-09 mo=
st the time, but its still on the board and gets used in some applications =
like when im firing off a synth string patch and just need to thincked the =
low end up further. <BR>
&nbsp;<BR>
&nbsp;<BR>
Regards<BR>
&nbsp;<BR>
Phill MyOneManBand Wilson<BR>
&gt; If you didn't ever check out the old Boss OC2, that has pretty good tr=
acking;<BR>&gt; despite it's cheap sound it's a classic.<BR><BR><br /><hr /=
>Sounds like? How many syllables? <a href=3D'http://www.searchcharades.com'=
 target=3D'_new'>Guess and win prizes with Search Charades!</a></body>
</html>=

--_c494e362-9a6b-4728-85da-f007a517ee04_--

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Subject: RE: Electro Harmonix 2880 a good choice for a looper
Date: Thu, 7 Feb 2008 12:46:10 -0000
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>>I've liked this unit for the price point and features. However, am I
smoking something or am I correct in understanding this unit has only a
one loop capability with multiple 'tracks' -and- the ability to bounce
tracks? <<
=20
this is why mine, complete with the foot-controller accessory, is still
in it's box.=20
=20
I use an RC-2 for the multiple loop scenario, & we also have a reissue
16sec EH for the more lo-fi mucking-about.=20
=20
the 2880 is too clean-sounding & anyway, who wants a half hour of
storage (or whatever it is) if it's only one big four/six track loop?=20
I'm glad we also have two repeaters & three jammans in the band
armoury.... :-)
=20
d=2E



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<DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter Medium"><SPAN=20
class=3D127234112-07022008>&gt;&gt;</SPAN></FONT>I've liked this unit for t=
he=20
price point and features. However, am I smoking something or am I correct i=
n=20
understanding this unit has only a one loop capability with multiple 'track=
s'=20
-and- the ability to bounce tracks?<SPAN class=3D127234112-07022008><FONT=20
face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff>&nbsp;&lt;&lt;</FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008></SPAN>&nbsp;<=
/DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
face=3D"AmericanTypewriter Medium" color=3D#0000ff>this is why mine, comple=
te with=20
the foot-controller accessory, is still in it's box.</FONT>&nbsp;</SPAN></D=
IV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008></SPAN>&nbsp;<=
/DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
face=3D"AmericanTypewriter Medium" color=3D#0000ff>I use an RC-2 for the mu=
ltiple=20
loop scenario, &amp; we also have a reissue 16sec EH for the more lo-fi=20
mucking-about. </FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
face=3D"AmericanTypewriter Medium" color=3D#0000ff></FONT></SPAN>&nbsp;</DI=
V>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
face=3D"AmericanTypewriter Medium" color=3D#0000ff>the 2880 is too clean-so=
unding=20
&amp; anyway, who wants a half hour of storage (or whatever it is) if it's =
only=20
one big four/six track loop? </FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
face=3D"AmericanTypewriter Medium" color=3D#0000ff>I'm glad we also have tw=
o=20
repeaters &amp; three jammans in the band armoury.... :-)</FONT></SPAN></DI=
V>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
face=3D"AmericanTypewriter Medium" color=3D#0000ff></FONT></SPAN>&nbsp;</DI=
V>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
face=3D"AmericanTypewriter Medium"=20
color=3D#0000ff>d.</FONT></SPAN></DIV><pre>


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From: Matt Stevens <mattstevensguitar@btinternet.com>
Subject: Re: OT:Re: EH micro POG micro review
Date: Thu, 7 Feb 2008 14:00:29 +0000
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Thanks Andy!!

Have you tried the Electro Harmonix HOG?? It looks awesome.

MS

On 7 Feb 2008, at 09:27, andy butler wrote:

> hi Matt,
> Yes, you get to freely mix oct-down, dry, and oct-up.
> ...and you should have one for those nice dubby basslines you throw  
> in on occasion :-)
> (try before you buy tho', it has quite an odd tone)
>
> However, why not just use your DL4 to create basslines.
> a number of ways to arrange it,
> for instance:-
>
> 1) Before record, go into halfspeed
> 2) Create a rhythm loop ( sounding at normal speed )
> 3) hit the halfspeed button again, to make the rhythm sound at  
> double speed
> 4) overdub your bassline, playing it at twice the usual speed
> 5) hit halfspeed button again
> 6) look smug
>
> Or do it the 'Bernhard Wagner' way with an OC2.
> Which I think is:-
> Octave 1 full up, Octave 2 full down.
> ..and mix in just enough dry signal so that it makes the synthetic  
> octave sound like a bass guitar.
>
>
>
> andy butler
>
>
>
>
> Matt Stevens wrote:
>> I want one!!! Can you take out the guitar signal to play a bass line?
>> On 7 Feb 2008, at 08:54, andy butler wrote:
>>> The tracking on the MicroPog is excellent.
>>> The sub-octave works really well, without latency, some sort of  
>>> hybrid between a harmoniser and a regular octaver. Odd tone  
>>> though, try before you buy.
>>> The octave up also tracks perfectly, but with a slight delay and  
>>> somewhat flat in pitch.
>>> The much publicised "polyphonic" ability only works well on very  
>>> simple chords.
>>> The dry signal coming through the pedal, when switched on,  
>>> sounded every bit as good as the hard bypass.
>>>
>>> If you didn't ever check out the old Boss OC2, that has pretty  
>>> good tracking;
>>> despite it's cheap sound it's a classic.
>>>
>>> andy butler
>>>
>>>
>>> K D Patten wrote:
>>>> lurker surfacing here.....I've been cruising eBay looking for  
>>>> one my self....seems my Electro-Hamonix octiver freaks out when  
>>>> i try to loop base lines with my acoustic...weird harmonics....i  
>>>> though the Mirco POG wouldn't freak like that ....any one have  
>>>> any input?....I'll keep my eye open for you as well   
>>>> Daniel..........Kyle
>>>
>

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Subject: Re: Electro Harmonix 2880 a good choice for a looper
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Some hair-splitting of some picky non-native speaker... shouldn=B4t it =
be "jammen", more correctly ;-)?

Anyway, I=B4m back to this list, hi everybody!

Stephen

____________________________________________________________________

"Ambition makes you look pretty ugly, kicking squealing Gucci little =
piggy." (Thom Yorke/Radiohead -- "Paranoid Android")=20

Finally available: Stephen Parsick -- Traces of the Past Redux, reissued =
with three previously unreleased bonus tracks.

It=B4s out: [=B4ramp] & markus reuter -- "ceasing to exist", a gorgeous =
dark ambient album. available through our webshop at www.doombient.com

For info and audio, please visit the official [=B4ramp] website at =
www.doombient.com

  ----- Original Message -----=20
  From: Goddard, Duncan=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Thursday, February 07, 2008 1:46 PM
  Subject: RE: Electro Harmonix 2880 a good choice for a looper


  >>I've liked this unit for the price point and features. However, am I =
smoking something or am I correct in understanding this unit has only a =
one loop capability with multiple 'tracks' -and- the ability to bounce =
tracks? <<

  this is why mine, complete with the foot-controller accessory, is =
still in it's box.=20

  I use an RC-2 for the multiple loop scenario, & we also have a reissue =
16sec EH for the more lo-fi mucking-about.=20

  the 2880 is too clean-sounding & anyway, who wants a half hour of =
storage (or whatever it is) if it's only one big four/six track loop?=20
  I'm glad we also have two repeaters & three jammans in the band =
armoury.... :-)

  d.


CONFIDENTIALITY NOTICE

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MTV Networks International, MTV Networks UK & Ireland, Greenhouse,=20
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Europe.  MTV Networks Europe is a partnership between MTV Networks =
Europe=20
Inc. and Viacom Networks Europe Inc.  Address for service in Great =
Britain=20
is UK House, 180 Oxford Street, London W1D 1DS, UK.

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
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charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1528" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Some hair-splitting of some picky =
non-native=20
speaker... shouldn=B4t it be "jammen", more correctly ;-)?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Anyway, I=B4m back to this list, hi=20
everybody!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Stephen</FONT></DIV>
<DIV><BR>________________________________________________________________=
____</DIV>
<DIV>&nbsp;</DIV>
<DIV>"Ambition makes you look pretty ugly, kicking squealing Gucci =
little=20
piggy." (Thom Yorke/Radiohead -- "Paranoid Android") </DIV>
<DIV>&nbsp;</DIV>
<DIV>Finally available: Stephen Parsick -- Traces of the Past Redux, =
reissued=20
with three previously unreleased bonus tracks.</DIV>
<DIV>&nbsp;</DIV>
<DIV>It=B4s out: [=B4ramp] &amp; markus reuter -- "ceasing to exist", a =
gorgeous=20
dark ambient album. available through our webshop at <A=20
href=3D"http://www.doombient.com">www.doombient.com</A></DIV>
<DIV>&nbsp;</DIV>
<DIV>For info and audio, please visit the official [=B4ramp] website at =
<A=20
href=3D"http://www.doombient.com">www.doombient.com</A><BR></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dgoddard.duncan@mtvne.com=20
  href=3D"mailto:goddard.duncan@mtvne.com">Goddard, Duncan</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, February 07, =
2008 1:46=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> RE: Electro Harmonix =
2880 a good=20
  choice for a looper</DIV>
  <DIV><BR></DIV>
  <DIV dir=3Dltr align=3Dleft><FONT face=3D"AmericanTypewriter =
Medium"><SPAN=20
  class=3D127234112-07022008>&gt;&gt;</SPAN></FONT>I've liked this unit =
for the=20
  price point and features. However, am I smoking something or am I =
correct in=20
  understanding this unit has only a one loop capability with multiple =
'tracks'=20
  -and- the ability to bounce tracks?<SPAN =
class=3D127234112-07022008><FONT=20
  face=3D"AmericanTypewriter Medium"=20
  color=3D#0000ff>&nbsp;&lt;&lt;</FONT></SPAN></DIV>
  <DIV dir=3Dltr align=3Dleft><SPAN =
class=3D127234112-07022008></SPAN>&nbsp;</DIV>
  <DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
  face=3D"AmericanTypewriter Medium" color=3D#0000ff>this is why mine, =
complete with=20
  the foot-controller accessory, is still in it's =
box.</FONT>&nbsp;</SPAN></DIV>
  <DIV dir=3Dltr align=3Dleft><SPAN =
class=3D127234112-07022008></SPAN>&nbsp;</DIV>
  <DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
  face=3D"AmericanTypewriter Medium" color=3D#0000ff>I use an RC-2 for =
the multiple=20
  loop scenario, &amp; we also have a reissue 16sec EH for the more =
lo-fi=20
  mucking-about. </FONT></SPAN></DIV>
  <DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
  face=3D"AmericanTypewriter Medium" =
color=3D#0000ff></FONT></SPAN>&nbsp;</DIV>
  <DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
  face=3D"AmericanTypewriter Medium" color=3D#0000ff>the 2880 is too =
clean-sounding=20
  &amp; anyway, who wants a half hour of storage (or whatever it is) if =
it's=20
  only one big four/six track loop? </FONT></SPAN></DIV>
  <DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
  face=3D"AmericanTypewriter Medium" color=3D#0000ff>I'm glad we also =
have two=20
  repeaters &amp; three jammans in the band armoury.... =
:-)</FONT></SPAN></DIV>
  <DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
  face=3D"AmericanTypewriter Medium" =
color=3D#0000ff></FONT></SPAN>&nbsp;</DIV>
  <DIV dir=3Dltr align=3Dleft><SPAN class=3D127234112-07022008><FONT=20
  face=3D"AmericanTypewriter Medium" =
color=3D#0000ff>d.</FONT></SPAN></DIV><PRE>

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MTV Networks International, MTV Networks UK &amp; Ireland, Greenhouse,=20
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Europe.  MTV Networks Europe is a partnership between MTV Networks =
Europe=20
Inc. and Viacom Networks Europe Inc.  Address for service in Great =
Britain=20
is UK House, 180 Oxford Street, London W1D 1DS, UK.
</PRE></BLOCKQUOTE></BODY></HTML>

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Thanks to all who replied.

On 06/02/2008, ditch wrestler <ditchwrestler@yahoo.com> wrote:
> Got anything in particular you're looking for, Os?

anything ambient/loopy/improv, really. or anything at all people with
local knowledge want to recommend as cool!


cheers,
os.


> If you're into the creative/improv music end of things, Somewhere There h=
as
> two good acts on next Thursday and Saturday
> http://www.somewherethere.org/calendar.php
>
> And the nice folks at the Assoc. of Improvising Musicians Toronto (aimt)
> have their Friday night Leftover Daylight series
> http://www.ovalwindowmusic.org/leftoverdaylight/main.php
> It looks like Canadian Renaissance man, Michael Snow (painter, photograph=
er,
> videographer) is playing in the last act on Friday the 15 and 22.
> http://en.wikipedia.org/wiki/Michael_Snow
>
> The free weekly is Now Magazine - http://www.nowtoronto.com; check out th=
eir
> music listing for what's up.
>
> There's plenty of big music stores - Steve's, Long & McQuade -but I'm not
> sure about small/freaky stores other than this one -
> http://www.capsulemusic.com/
>
> Got anything in particular you're looking for, Os?
>
>
> ted.
>
>
> Os <os@collective.co.uk> wrote:
>  Hi all,
>
> I've just arranged a business trip to Toronto for next week. Anyone
> got any recommendations?
>
> Looks like I just missed out on the Ambient Ping, by a remarkable bit
> of ill timing. Bah!
>
>
> cheers,
> os.
>
> --
> os@collective.co.uk
> http://www.darkroomtheband.net/
> http://www.expert-sleepers.co.uk/
>
>
>
>
> "Indeed, naturally I think that a film should have a beginning, middle, a=
nd
> an end =97 but not necessarily in that order." Jean Luc Goddard
>
>  ________________________________
> Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it
> now.


--=20
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

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<P><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><STRONG>Gentile utente,</STRONG><BR><BR>lei ha avuto una inserzione simile ieri?</FONT></P>
<P><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">l'hai venduto&nbsp;o ce ancora diponibile?<BR></P>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>Sony playstation 3 nuova 60 GB + 5 giocci </TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>07-Feb-08 22:02:01 CET</TD></TR>
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From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 19:47:23 2008
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Date: Thu, 7 Feb 2008 13:18:43 -0600
From: "Jebus McLoopie" <mcloopie@gmail.com>
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I have a couple questions. There's a MIDI in, can you sync the looper to
MIDI clock or is that just for the delay? Also, is there an undo function?
Mcloopie

On Feb 6, 2008 6:58 PM, Teddy Kumpel <teddybut@mac.com> wrote:

> I don't notice the glitch in the looper mode. So, if there is a
> glitch, it's NOTHING like the RC50 glitch, which is like a 200ms
> glitch. Also, like Ian said, you can make the looper do 48 seconds by
> using 1/4 time mode. the sound quality doesn't suffer much that way
> like other pedals. I also love that you can make presets that save
> the looper time and if you've made a loop in one time/preset and go
> to another preset it keeps the loop going and changes the pitch to
> the next preset's time. VERY COOL.
>
> The only thing I miss is reverse looping. Other than that it's a
> fantastic box.
> I'm sure they will upgrade it to do reverse looping soon as it is one
> of the most requested features.
>
> tk
>
>
> On Feb 6, 2008, at 4:15 PM, Ian Popperwell wrote:
>
> > Hi Chris,
> > Just spotted your email again, I'd kept it from a while ago.
> >
> > Firstly, the TimeFactor is (in my view) an exceptional delay pedal
> > with incredibly good sounding delay models, great flexibility and
> > lots of options for external control (MIDI, very flexibly
> > assignable external footswitches and expression pedal). It isn't
> > primarily a looper, although for a 12 second unit, it is very well
> > featured with various play and overdub modes, loop feedback and
> > filtering that can be changed on the fly or via footswitches/pedal.
> > It can shift the loop very flexibly too to quarter speed (48
> > seconds), or in fifths, semitones, octaves, etc. you can move the
> > start & end points of a loop (again with external control (or
> > MIDDI). There is a glitch at the loop crossover point which has
> > improved a little with a software revision but I'd really need it
> > to be silent otherwise the glitch intrudes upon notes that cross
> > over the loop point. The looper is in mono and doesn't have a delay
> > of its own (unfortunately). Usefully, you can save the looper as a
> > programme and as such, can save different versions with different
> > settings.
> >
> > I am just starting to use the looper a little but mainly use it for
> > all its wonderful delays and controllability. One of the most
> > important things about this unit is that it has a USB port and is
> > already being upgraded, V2(beta version so far) already fixes some
> > major limitations of V1. To have a pedal where the manufacturer
> > seem to be taking upgrades very seriously is great (and about time
> > too). It is expensive. One critisism I do have (which cannot be
> > mended in an upgrade) is that the box is a couple of inches shorter
> > than I'd like - I find the footswitches closer together than I like.
> >
> > Hope that's useful info.
> >
> > Ian.
> >
> > ----- Original Message ----- From: "Chris Sewell" <lunamusic@mac.com>
> > To: <Loopers-Delight@loopers-delight.com>
> > Sent: Tuesday, January 29, 2008 11:02 PM
> > Subject: Eventide Time Factor
> >
> >
> >> I assume people are using this pedal. Im curious as to how it
> >> works  as a looper. Does it output in stereo as a looper? Is
> >> there  overdubbing? Any Roland like hiccups when going from record
> >> to play?  I'm guessing the sound quality is fantastic.
> >> Any thoughts would be appreciated.
> >> Regards,
> >> Chris
>
>

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I have a couple questions. There&#39;s a MIDI in, can you sync the looper to MIDI clock or is that just for the delay? Also, is there an undo function?<div><br class="webkit-block-placeholder"></div><div>Mcloopie<br><br><div class="gmail_quote">
On Feb 6, 2008 6:58 PM, Teddy Kumpel &lt;<a href="mailto:teddybut@mac.com">teddybut@mac.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">I don&#39;t notice the glitch in the looper mode. So, if there is a<br>
glitch, it&#39;s NOTHING like the RC50 glitch, which is like a 200ms<br>glitch. Also, like Ian said, you can make the looper do 48 seconds by<br>using 1/4 time mode. the sound quality doesn&#39;t suffer much that way<br>like other pedals. I also love that you can make presets that save<br>
the looper time and if you&#39;ve made a loop in one time/preset and go<br>to another preset it keeps the loop going and changes the pitch to<br>the next preset&#39;s time. VERY COOL.<br><br>The only thing I miss is reverse looping. Other than that it&#39;s a<br>
fantastic box.<br>I&#39;m sure they will upgrade it to do reverse looping soon as it is one<br>of the most requested features.<br><font color="#888888"><br>tk<br></font><div class="Ih2E3d"><br><br>On Feb 6, 2008, at 4:15 PM, Ian Popperwell wrote:<br>
<br></div><div><div></div><div class="Wj3C7c">&gt; Hi Chris,<br>&gt; Just spotted your email again, I&#39;d kept it from a while ago.<br>&gt;<br>&gt; Firstly, the TimeFactor is (in my view) an exceptional delay pedal<br>&gt; with incredibly good sounding delay models, great flexibility and<br>
&gt; lots of options for external control (MIDI, very flexibly<br>&gt; assignable external footswitches and expression pedal). It isn&#39;t<br>&gt; primarily a looper, although for a 12 second unit, it is very well<br>&gt; featured with various play and overdub modes, loop feedback and<br>
&gt; filtering that can be changed on the fly or via footswitches/pedal.<br>&gt; It can shift the loop very flexibly too to quarter speed (48<br>&gt; seconds), or in fifths, semitones, octaves, etc. you can move the<br>&gt; start &amp; end points of a loop (again with external control (or<br>
&gt; MIDDI). There is a glitch at the loop crossover point which has<br>&gt; improved a little with a software revision but I&#39;d really need it<br>&gt; to be silent otherwise the glitch intrudes upon notes that cross<br>
&gt; over the loop point. The looper is in mono and doesn&#39;t have a delay<br>&gt; of its own (unfortunately). Usefully, you can save the looper as a<br>&gt; programme and as such, can save different versions with different<br>
&gt; settings.<br>&gt;<br>&gt; I am just starting to use the looper a little but mainly use it for<br>&gt; all its wonderful delays and controllability. One of the most<br>&gt; important things about this unit is that it has a USB port and is<br>
&gt; already being upgraded, V2(beta version so far) already fixes some<br>&gt; major limitations of V1. To have a pedal where the manufacturer<br>&gt; seem to be taking upgrades very seriously is great (and about time<br>
&gt; too). It is expensive. One critisism I do have (which cannot be<br>&gt; mended in an upgrade) is that the box is a couple of inches shorter<br>&gt; than I&#39;d like - I find the footswitches closer together than I like.<br>
&gt;<br>&gt; Hope that&#39;s useful info.<br>&gt;<br>&gt; Ian.<br>&gt;<br>&gt; ----- Original Message ----- From: &quot;Chris Sewell&quot; &lt;<a href="mailto:lunamusic@mac.com">lunamusic@mac.com</a>&gt;<br>&gt; To: &lt;<a href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</a>&gt;<br>
&gt; Sent: Tuesday, January 29, 2008 11:02 PM<br>&gt; Subject: Eventide Time Factor<br>&gt;<br>&gt;<br>&gt;&gt; I assume people are using this pedal. Im curious as to how it<br>&gt;&gt; works &nbsp;as a looper. Does it output in stereo as a looper? Is<br>
&gt;&gt; there &nbsp;overdubbing? Any Roland like hiccups when going from record<br>&gt;&gt; to play? &nbsp;I&#39;m guessing the sound quality is fantastic.<br>&gt;&gt; Any thoughts would be appreciated.<br>&gt;&gt; Regards,<br>&gt;&gt; Chris<br>
<br></div></div></blockquote></div><br></div>

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From: Mikkoz <biffoz@gmail.com>
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I'll throw in another query:  Can the delay time be manipulated via midi,
and if so, does it smoothly pitch bend in the direction of the time shift?
-- 
Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

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I&#39;ll throw in another query:&nbsp; Can the delay time be manipulated
via midi, and if so, does it smoothly pitch bend in the direction of
the time shift?<br>-- <br>Miko Biffle<br><a href="mailto:Biffoz@Gmail.com">Biffoz@Gmail.com</a><br><a href="mailto:MBiffle@FoxRacingShox.com">MBiffle@FoxRacingShox.com</a><br>&quot;Running scared from all the usual distractions!&quot;

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From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 20:49:08 2008
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Subject: RE: toronto, next week
Date: Thu, 7 Feb 2008 13:53:23 -0500
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I second this-- Kevin Breit is truly amazing to watch play...

__________________________________________
Lyle Crilly
Steinberg/Music Marketing Canada

 

-----Original Message-----
From: bradm [mailto:bradmcmail@yahoo.ca] 
Sent: Wednesday, February 06, 2008 11:19 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: toronto, next week

--- Os <os@collective.co.uk> wrote:
> I've just arranged a business trip to Toronto for
> next week. Anyone
> got any recommendations?

If you're there on Monday, Feb. 11, and can handle a
late night downtown, I heartily recommend going to The
Orbit Room

http://www.orbitroom.ca/

to see Sisters Euclid

http://www.sisterseuclid.com

which includes Kevin Breit

http://www.myspace.com/kevinbreit

on guitar (and sometimes vocals). They usually do two
sets, the first starting around 10pm; the cover charge
is (IIRC) $7.

Musically, they're astounding. They have an amazing
confidence and fearlessness to their playing; seeing
Kevin play guitar (even slide) is jaw-dropping. In
genre terms, I guess they're a jazz band, but they
include rock, blues, funk, and groove elements as
well. They're not a "looping" act per se, but the last
time I saw them (2007-12-17), Kevin did some looping
of his guitar parts (more as seasoning than a main
course, if you get my drift).

The Orbit Room also has a really good selection of
Ontario micro-brews, if you dig beer.

Aloha,
Brad


      Looking for the perfect gift? Give the gift of Flickr! 

http://www.flickr.com/gift/

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 21:19:12 2008
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From: Teddy Kumpel <teddybut@mac.com>
Subject: Re: Eventide Time Factor
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yes and yes

it is super flexible with midi commands

tk


On Feb 7, 2008, at 3:20 PM, Mikkoz wrote:

> I'll throw in another query:  Can the delay time be manipulated via  
> midi, and if so, does it smoothly pitch bend in the direction of  
> the time shift?
> -- 
> Miko Biffl

From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 21:21:02 2008
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I've been trying to solve this little puzzle for a couple nights now, and at
long last turn to the hive mind to sort it all out.

Here are the critical components:
Two loopers - A KP3 and Boss RC-50.
One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends - One
labled FX, one labeled MON - Upon review of the
manual<http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf>,
they are effectively the same thing. Each of the 12 channels has two knobs
that determines the amount of the signal being sent to either of the sends.

What I'd like to be able to do is to send to either OR both of the loopers,
as well as send back and forth between the loopers. I understand that I can
return either looper to its own channel, but feedback becomes an issue when
I use this method to send to each other via channels. Is there any way to
accomplish the setup I'm looking for?

Further complicating the issue is the fact that the KP3 is stereo in, stereo
out, while the send it self is mono - Currently I'm just using a stereo to
mono adapter to "monoize" the signal before it hits the kp3.

Help!

Thanks,
-- 
~holotone
http://holotone.net/

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I&#39;ve been trying to solve this little puzzle for a couple nights now, and at long last turn to the hive mind to sort it all out.<br><br>Here are the critical components:<br>Two loopers - A KP3 and Boss RC-50.<br>One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends - One labled FX, one labeled MON - Upon review of <a href="http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf">the manual</a>, they are effectively the same thing. Each of the 12 channels has two knobs that determines the amount of the signal being sent to either of the sends.<br>
<br>What I&#39;d like to be able to do is to send to either OR both of the loopers, as well as send back and forth between the loopers. I understand that I can return either looper to its own channel, but feedback becomes an issue when I use this method to send to each other via channels. Is there any way to accomplish the setup I&#39;m looking for?<br>
<br>Further complicating the issue is the fact that the KP3 is stereo in, stereo out, while the send it self is mono - Currently I&#39;m just using a stereo to mono adapter to &quot;monoize&quot; the signal before it hits the kp3.<br>
<br>Help!<br><br clear="all">Thanks,<br>-- <br>~holotone<br><a href="http://holotone.net/">http://holotone.net/</a>

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From Loopers-Delight-request@loopers-delight.com  Thu Feb  7 21:41:50 2008
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Yes, and the other thing I want to see is programme-specific external 
footswitch assignments. They've already made a great change in the global 
settings by seperating global tempo & mix on/off settings... here's waiting 
for more.

Ian.

----- Original Message ----- 
From: "Teddy Kumpel" <teddybut@mac.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, February 07, 2008 12:58 AM
Subject: Re: Eventide Time Factor


>I don't notice the glitch in the looper mode. So, if there is a  glitch, 
>it's NOTHING like the RC50 glitch, which is like a 200ms  glitch. Also, 
>like Ian said, you can make the looper do 48 seconds by  using 1/4 time 
>mode. the sound quality doesn't suffer much that way  like other pedals. I 
>also love that you can make presets that save  the looper time and if 
>you've made a loop in one time/preset and go  to another preset it keeps 
>the loop going and changes the pitch to  the next preset's time. VERY COOL.
>
> The only thing I miss is reverse looping. Other than that it's a 
> fantastic box.
> I'm sure they will upgrade it to do reverse looping soon as it is one  of 
> the most requested features.
>
> tk
>
>
> On Feb 6, 2008, at 4:15 PM, Ian Popperwell wrote:
>
>> Hi Chris,
>> Just spotted your email again, I'd kept it from a while ago.
>>
>> Firstly, the TimeFactor is (in my view) an exceptional delay pedal  with 
>> incredibly good sounding delay models, great flexibility and  lots of 
>> options for external control (MIDI, very flexibly  assignable external 
>> footswitches and expression pedal). It isn't  primarily a looper, 
>> although for a 12 second unit, it is very well  featured with various 
>> play and overdub modes, loop feedback and  filtering that can be changed 
>> on the fly or via footswitches/pedal.  It can shift the loop very 
>> flexibly too to quarter speed (48  seconds), or in fifths, semitones, 
>> octaves, etc. you can move the  start & end points of a loop (again with 
>> external control (or  MIDDI). There is a glitch at the loop crossover 
>> point which has  improved a little with a software revision but I'd 
>> really need it  to be silent otherwise the glitch intrudes upon notes 
>> that cross  over the loop point. The looper is in mono and doesn't have a 
>> delay  of its own (unfortunately). Usefully, you can save the looper as a 
>> programme and as such, can save different versions with different 
>> settings.
>>
>> I am just starting to use the looper a little but mainly use it for  all 
>> its wonderful delays and controllability. One of the most  important 
>> things about this unit is that it has a USB port and is  already being 
>> upgraded, V2(beta version so far) already fixes some  major limitations 
>> of V1. To have a pedal where the manufacturer  seem to be taking upgrades 
>> very seriously is great (and about time  too). It is expensive. One 
>> critisism I do have (which cannot be  mended in an upgrade) is that the 
>> box is a couple of inches shorter  than I'd like - I find the 
>> footswitches closer together than I like.
>>
>> Hope that's useful info.
>>
>> Ian.
>>
>> ----- Original Message ----- From: "Chris Sewell" <lunamusic@mac.com>
>> To: <Loopers-Delight@loopers-delight.com>
>> Sent: Tuesday, January 29, 2008 11:02 PM
>> Subject: Eventide Time Factor
>>
>>
>>> I assume people are using this pedal. Im curious as to how it  works  as 
>>> a looper. Does it output in stereo as a looper? Is  there  overdubbing? 
>>> Any Roland like hiccups when going from record  to play?  I'm guessing 
>>> the sound quality is fantastic.
>>> Any thoughts would be appreciated.
>>> Regards,
>>> Chris
>
>
> 



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Subject: Re: Eventide Time Factor
Date: Thu, 7 Feb 2008 22:12:34 -0000
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Oh, that's interesting, I'd have said Yes and no/sort of.

Yes the delay time  can be controlled via MIDI and no, the changes don't 
result in a pitch shift in all delay models. The tape delay has an 
"emulation" of that when time is changed.

----- Original Message ----- 
From: "Teddy Kumpel" <teddybut@mac.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, February 07, 2008 9:18 PM
Subject: Re: Eventide Time Factor


> yes and yes
>
> it is super flexible with midi commands
>
> tk
>
>
> On Feb 7, 2008, at 3:20 PM, Mikkoz wrote:
>
>> I'll throw in another query:  Can the delay time be manipulated via 
>> midi, and if so, does it smoothly pitch bend in the direction of  the 
>> time shift?
>> -- 
>> Miko Biffl
>
>
> 



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Subject: Re: Eventide Time Factor
Date: Thu, 7 Feb 2008 22:15:12 -0000
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1. Haven't synced the clock of the looper to MIDI clock, not sure but =
imagine you can, in that you can tap in  your timings and measure by =
bars.=20

2. there isn't an undo function, however you can very easily lose all =
feedback which of course loses the loop, but sadly no undo (to remove =
the last overdub etc.)

  ----- Original Message -----=20
  From: Jebus McLoopie=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Thursday, February 07, 2008 7:18 PM
  Subject: Re: Eventide Time Factor


  I have a couple questions. There's a MIDI in, can you sync the looper =
to MIDI clock or is that just for the delay? Also, is there an undo =
function?


  Mcloopie


  On Feb 6, 2008 6:58 PM, Teddy Kumpel <teddybut@mac.com> wrote:

    I don't notice the glitch in the looper mode. So, if there is a
    glitch, it's NOTHING like the RC50 glitch, which is like a 200ms
    glitch. Also, like Ian said, you can make the looper do 48 seconds =
by
    using 1/4 time mode. the sound quality doesn't suffer much that way
    like other pedals. I also love that you can make presets that save
    the looper time and if you've made a loop in one time/preset and go
    to another preset it keeps the loop going and changes the pitch to
    the next preset's time. VERY COOL.

    The only thing I miss is reverse looping. Other than that it's a
    fantastic box.
    I'm sure they will upgrade it to do reverse looping soon as it is =
one
    of the most requested features.

    tk



    On Feb 6, 2008, at 4:15 PM, Ian Popperwell wrote:


    > Hi Chris,
    > Just spotted your email again, I'd kept it from a while ago.
    >
    > Firstly, the TimeFactor is (in my view) an exceptional delay pedal
    > with incredibly good sounding delay models, great flexibility and
    > lots of options for external control (MIDI, very flexibly
    > assignable external footswitches and expression pedal). It isn't
    > primarily a looper, although for a 12 second unit, it is very well
    > featured with various play and overdub modes, loop feedback and
    > filtering that can be changed on the fly or via =
footswitches/pedal.
    > It can shift the loop very flexibly too to quarter speed (48
    > seconds), or in fifths, semitones, octaves, etc. you can move the
    > start & end points of a loop (again with external control (or
    > MIDDI). There is a glitch at the loop crossover point which has
    > improved a little with a software revision but I'd really need it
    > to be silent otherwise the glitch intrudes upon notes that cross
    > over the loop point. The looper is in mono and doesn't have a =
delay
    > of its own (unfortunately). Usefully, you can save the looper as a
    > programme and as such, can save different versions with different
    > settings.
    >
    > I am just starting to use the looper a little but mainly use it =
for
    > all its wonderful delays and controllability. One of the most
    > important things about this unit is that it has a USB port and is
    > already being upgraded, V2(beta version so far) already fixes some
    > major limitations of V1. To have a pedal where the manufacturer
    > seem to be taking upgrades very seriously is great (and about time
    > too). It is expensive. One critisism I do have (which cannot be
    > mended in an upgrade) is that the box is a couple of inches =
shorter
    > than I'd like - I find the footswitches closer together than I =
like.
    >
    > Hope that's useful info.
    >
    > Ian.
    >
    > ----- Original Message ----- From: "Chris Sewell" =
<lunamusic@mac.com>
    > To: <Loopers-Delight@loopers-delight.com>
    > Sent: Tuesday, January 29, 2008 11:02 PM
    > Subject: Eventide Time Factor
    >
    >
    >> I assume people are using this pedal. Im curious as to how it
    >> works  as a looper. Does it output in stereo as a looper? Is
    >> there  overdubbing? Any Roland like hiccups when going from =
record
    >> to play?  I'm guessing the sound quality is fantastic.
    >> Any thoughts would be appreciated.
    >> Regards,
    >> Chris




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<META http-equiv=3DContent-Type content=3D"text/html; =
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<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>1. Haven't synced the clock of the looper to MIDI =
clock, not=20
sure but imagine you can, in that you can tap in&nbsp; your timings and =
measure=20
by bars. </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>2. there isn't an undo function, however you can =
very easily=20
lose all feedback which of course loses the loop, but sadly no undo (to =
remove=20
the last overdub etc.)</FONT></DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dmcloopie@gmail.com href=3D"mailto:mcloopie@gmail.com">Jebus =

  McLoopie</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, February 07, =
2008 7:18=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Eventide Time =
Factor</DIV>
  <DIV><BR></DIV>I have a couple questions. There's a MIDI in, can you =
sync the=20
  looper to MIDI clock or is that just for the delay? Also, is there an =
undo=20
  function?
  <DIV><BR class=3Dwebkit-block-placeholder></DIV>
  <DIV>Mcloopie<BR><BR>
  <DIV class=3Dgmail_quote>On Feb 6, 2008 6:58 PM, Teddy Kumpel &lt;<A=20
  href=3D"mailto:teddybut@mac.com">teddybut@mac.com</A>&gt; wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">I=20
    don't notice the glitch in the looper mode. So, if there is =
a<BR>glitch,=20
    it's NOTHING like the RC50 glitch, which is like a 200ms<BR>glitch. =
Also,=20
    like Ian said, you can make the looper do 48 seconds by<BR>using 1/4 =
time=20
    mode. the sound quality doesn't suffer much that way<BR>like other =
pedals. I=20
    also love that you can make presets that save<BR>the looper time and =
if=20
    you've made a loop in one time/preset and go<BR>to another preset it =
keeps=20
    the loop going and changes the pitch to<BR>the next preset's time. =
VERY=20
    COOL.<BR><BR>The only thing I miss is reverse looping. Other than =
that it's=20
    a<BR>fantastic box.<BR>I'm sure they will upgrade it to do reverse =
looping=20
    soon as it is one<BR>of the most requested features.<BR><FONT=20
    color=3D#888888><BR>tk<BR></FONT>
    <DIV class=3DIh2E3d><BR><BR>On Feb 6, 2008, at 4:15 PM, Ian =
Popperwell=20
    wrote:<BR><BR></DIV>
    <DIV>
    <DIV></DIV>
    <DIV class=3DWj3C7c>&gt; Hi Chris,<BR>&gt; Just spotted your email =
again, I'd=20
    kept it from a while ago.<BR>&gt;<BR>&gt; Firstly, the TimeFactor is =
(in my=20
    view) an exceptional delay pedal<BR>&gt; with incredibly good =
sounding delay=20
    models, great flexibility and<BR>&gt; lots of options for external =
control=20
    (MIDI, very flexibly<BR>&gt; assignable external footswitches and =
expression=20
    pedal). It isn't<BR>&gt; primarily a looper, although for a 12 =
second unit,=20
    it is very well<BR>&gt; featured with various play and overdub =
modes, loop=20
    feedback and<BR>&gt; filtering that can be changed on the fly or via =

    footswitches/pedal.<BR>&gt; It can shift the loop very flexibly too =
to=20
    quarter speed (48<BR>&gt; seconds), or in fifths, semitones, =
octaves, etc.=20
    you can move the<BR>&gt; start &amp; end points of a loop (again =
with=20
    external control (or<BR>&gt; MIDDI). There is a glitch at the loop =
crossover=20
    point which has<BR>&gt; improved a little with a software revision =
but I'd=20
    really need it<BR>&gt; to be silent otherwise the glitch intrudes =
upon notes=20
    that cross<BR>&gt; over the loop point. The looper is in mono and =
doesn't=20
    have a delay<BR>&gt; of its own (unfortunately). Usefully, you can =
save the=20
    looper as a<BR>&gt; programme and as such, can save different =
versions with=20
    different<BR>&gt; settings.<BR>&gt;<BR>&gt; I am just starting to =
use the=20
    looper a little but mainly use it for<BR>&gt; all its wonderful =
delays and=20
    controllability. One of the most<BR>&gt; important things about this =
unit is=20
    that it has a USB port and is<BR>&gt; already being upgraded, =
V2(beta=20
    version so far) already fixes some<BR>&gt; major limitations of V1. =
To have=20
    a pedal where the manufacturer<BR>&gt; seem to be taking upgrades =
very=20
    seriously is great (and about time<BR>&gt; too). It is expensive. =
One=20
    critisism I do have (which cannot be<BR>&gt; mended in an upgrade) =
is that=20
    the box is a couple of inches shorter<BR>&gt; than I'd like - I find =
the=20
    footswitches closer together than I like.<BR>&gt;<BR>&gt; Hope =
that's useful=20
    info.<BR>&gt;<BR>&gt; Ian.<BR>&gt;<BR>&gt; ----- Original Message =
-----=20
    From: "Chris Sewell" &lt;<A=20
    href=3D"mailto:lunamusic@mac.com">lunamusic@mac.com</A>&gt;<BR>&gt; =
To: &lt;<A=20
    =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>&gt;<BR>&gt;=20
    Sent: Tuesday, January 29, 2008 11:02 PM<BR>&gt; Subject: Eventide =
Time=20
    Factor<BR>&gt;<BR>&gt;<BR>&gt;&gt; I assume people are using this =
pedal. Im=20
    curious as to how it<BR>&gt;&gt; works &nbsp;as a looper. Does it =
output in=20
    stereo as a looper? Is<BR>&gt;&gt; there &nbsp;overdubbing? Any =
Roland like=20
    hiccups when going from record<BR>&gt;&gt; to play? &nbsp;I'm =
guessing the=20
    sound quality is fantastic.<BR>&gt;&gt; Any thoughts would be=20
    appreciated.<BR>&gt;&gt; Regards,<BR>&gt;&gt;=20
  =
Chris<BR><BR></DIV></DIV></BLOCKQUOTE></DIV><BR></DIV></BLOCKQUOTE></BODY=
></HTML>

------=_NextPart_000_0035_01C869D6.E8781200--



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Date: Thu, 07 Feb 2008 15:12:15 -0800
Subject: Re: RC-50 up for grabs
From: Larry Stites <ncnet@sbcglobal.net>
To: Loopers Delight <Loopers-Delight@loopers-delight.com>
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If you still have this I am interested in buying.

Let me know - thanks


LS


on 1/28/08 7:18 PM, rithma wrote:

> My Boss RC-50 has been sitting there for too long.  I hate to take
> such a thing for granted.  I cant use it if they dont fix the midi
> sync issues.
> 
> Anyone want it?   Make me an offer.   Its a great looper as long as
> you dont need to sync with an outside source...
> 
> Good to hear Sooperooper has upgraded!  SL is (at last) something that
> has everything i need, the only hangup is the one function that
> crashes my computer when i Midi in the 'undo all' function... perhaps
> in the new.
> Anyone have that problem?
> 
> Getting SOOOO close to a setup that works...
> 
> 
> take care everybody
> rithers
> 

Larry Stites
Nevada City, CA 95959
530-265-2588 phone/fax
aim: LESGGN
ncnet@sbcglobal.net



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>>Some hair-splitting of some picky non-native speaker... shouldn=B4t it be=
 "jammen", more correctly ;-)? <<
=20
welcome back, hair-splitter! the precedent I was following was that of "wal=
kmans", which is in the dictionary..... :-)=20
=20
duncan.



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<DIV dir=3Dltr align=3Dleft><FONT face=3DArial><FONT size=3D2><SPAN=20
class=3D957184309-08022008>&gt;&gt;</SPAN>Some hair-splitting of some picky=20
non-native speaker... shouldn=B4t it be "jammen", more correctly ;-)?</FONT=
><SPAN=20
class=3D957184309-08022008><FONT face=3D"AmericanTypewriter Medium" color=
=3D#0000ff=20
size=3D3>&nbsp;<FONT face=3DArial color=3D#000000=20
size=3D2>&lt;&lt;</FONT></FONT></SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial><SPAN=20
class=3D957184309-08022008></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial><SPAN class=3D957184309-0802=
2008><FONT=20
size=3D2>welcome back, hair-splitter! the precedent I was following was tha=
t of=20
"walkmans", which is in the dictionary..... :-)</FONT>&nbsp;</SPAN></FONT><=
/DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial size=3D2><SPAN=20
class=3D957184309-08022008></SPAN></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial size=3D2><SPAN=20
class=3D957184309-08022008>duncan.</SPAN></FONT></DIV><pre>


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MTV Networks International, MTV Networks UK &amp; Ireland, Greenhouse,=20
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International and Comedy Central are all trading names of MTV Networks=20
Europe.  MTV Networks Europe is a partnership between MTV Networks Europe=20
Inc. and Viacom Networks Europe Inc.  Address for service in Great Britain=20
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From Loopers-Delight-request@loopers-delight.com  Fri Feb  8 14:11:41 2008
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Date: Fri, 08 Feb 2008 14:11:39 +0000
From: andy butler <akbutler@tiscali.co.uk>
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a gig from David Torn's Prezens tour is to be broadcast on bbc radio3 
tonight (early evening for US)

http://www.bbc.co.uk/radio3/jazzon3/pip/3c1t2/

Radio 3, like all bbc radio channels is available online.
...and they have a "listen again" function where they make it available 
as a free download for a period of a week.

andy butler

From Loopers-Delight-request@loopers-delight.com  Fri Feb  8 14:13:09 2008
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Date: Fri, 08 Feb 2008 14:12:54 +0000
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andy butler's "livelooping" cd is now available at a much reduced price 
of £6
from www.andybutler.com


I usually say stuff like 
"good enough to play to your non loop-nerd friends" ,
but no need for hype, as there's clips (and plenty of live mp3s) 
on the site,
and people here probably know my stuff already.

It's a 'real cd' (not cd-r) with studio quality recordings and neat artwork.

...and as incentive, anyone who purchases from LD also gets a copy
of the Looper's Delight Compilation Vol3 (mail me when you order to be 
sure).

andy butler

From Loopers-Delight-request@loopers-delight.com  Fri Feb  8 18:51:01 2008
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Date: Fri, 8 Feb 2008 10:50:59 -0800 (PST)
From: rabbirabbifive <rabbirabbi5@yahoo.com>
Subject: 2880 midi control via program change & controllers
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In the latest offical 2880 video on youtube, the demonstrator says that
the functions of the 2880 are controllable via midi program change and
controllers.   Can anyone confirm this?  I emailed EH but got a
non-answer.  



“I saw too many people die, and a lot of people didn’t see any of that. They had a press conference and left. I’m looking up, fighting this incredible battle, and they’re doing press conferences and lying to the people. They’re telling them 40,000 troops are in New Orleans. It was all bull.”  -Ray Nagin, Mayor of New Orleans


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

From adamstobe_priva@mixmail.com  Fri Feb  8 19:11:28 2008
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Date: Fri, 08 Feb 2008 04:18:12 +0100
From: "Adams Tobe " <adamstobe_priva@mixmail.com>
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To: "frank_odya@yahoo.co.uk" <frank_odya@yahoo.co.uk>
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Skye Trust Inc.,
Autov=EDa de Huesca,
Km. 7,2. Ciudad del Transporte,
C/M 50820, Madrid-Spain.
E-mail: tobeadams_private77@yahoo.es
Dear Sir, 

The purpose of my writing to you is because I am searching for a foreign business partner
who is in a position to assist me with my urgent business proposal, as time is not on my
side. A partner, who understands what confidentiality  means, and who has the necessary
facilities I require in embarking on this important venture. I decided to contact you
through email as it has remained the only possible means I consider safe to contact you. I
apologize if this is not suitaible to you. 

We want to transfer to abroad $US16.5m (Sixteen Million Five Hundred Thousand United
States Dollars) from A Security Company, Skye Trust Inc., Spain Branch, situated in the
above location in Spain. I am contacting you in a non-official capacity. To provide either
an existing bank Account Or to set up a new bank account immediately to receive this
money, even an empty account can serve to receive this money, as long as you will remain
honest to the transaction. 

We Will Start The First Transfer With Six Million U.S.Dollars [$6,000.000.00] Upon
Successful Transfer Without Any Disappointment From Your Side, We Shall Re-Apply For The
Transfer Of The Remaining TenMillion United States Dollars [$10,500.000.00] 

I am , an Accountant, with Skye Trust Inc., Spain. During the Course of Our Auditing, I
discovered a floating fund in an account opened with the security Company in 1998 and
since the year 2000 nobody has operated on this account again. After going through some
old files in the records, I discovered that the owner of the account died without an
Heir], Hence the money has been floating and if I do not remit this money out urgently it
will be forfeited for nothing to the Spanish Government. From my investigations I found
out that the owner of this account was Mr. Richard Anton , a foreigner, and an
Industrialist,he died since 1999 and no other person knows about this account or anything
concerning it except and most probably you as you read this letter. The account has no
beneficiary and my investigation proved to me as well that Mr. Richard Anton until his
death was the Managing Director, Autohaus Fuchs, GMBH. 

I am contacting you as a foreigner because this money can only be approved to a foreigner
with a valid International Passport, Drivers License and foreign account because the money
is in US Dollars and the former owner of the account Mr.Richard Anton  is a foreigner. I
am revealing all this to you with the belief that you will never let me down in this
business.For your active participation, I have two options of compensating you. Firstly
you can choose to have 30% of the total money for your assistance or you can go into
partnership with me for the proper and profitable investment of the entire money in your
country in any lucrative business you will advise me of. Of course, the investment must be
under your direct management and supervision. As soon as the money has been transferred
into your account, I shall come to your country and meet you face to face to work out the
modalities of the investments. 

Please notify me of your choice in your reply. I have also set aside 5% of the total sum
$16.5M for all kinds of expenses that may come our way in the process of this transaction.
Please note that this 5% for expenses is not with me at the moment but shall be deducted
from the money as soon as you have received it in your account. Be informed that this
transaction is risk free as all modalities have been put in place for a hitch free
transaction.

To commence this transaction, I require you to immediately indicate your interest by a
return e-mail to the above address and enclose your private contact telephone number, fax
number, full name and address.

Please reply to my private email tobeadams_private77@yahoo.es


Thanks.

Adams Tobe



---------------------------------------------------------
Ya.com ADSL 24h + Llamadas Nacionales y Locales 24h + Llamadas a MÓVILES.
Desde 9,95 €/mes+IVA. http://acceso.ya.com/ADSLllamadas/3mbvoz/

From Loopers-Delight-request@loopers-delight.com  Fri Feb  8 19:59:26 2008
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Date: Fri, 8 Feb 2008 11:30:22 -0800
From: Mikkoz <biffoz@gmail.com>
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Hmmm . . . so Yes and No sort of?  I'd better find a way to demo one then.
That's really one of my favorite mangulations.

Does the unit self-oscillate on short (or long for that matter) delay time
settings?

I know it may have already been asked, but does it have tap-tempo, or do you
have to start with dialing a delay time? -Miko

On 2/7/08, Ian Popperwell <popperwell@iname.com> wrote:
>
> Oh, that's interesting, I'd have said Yes and no/sort of.
>
> Yes the delay time  can be controlled via MIDI and no, the changes don't
> result in a pitch shift in all delay models. The tape delay has an
> "emulation" of that when time is changed.
>
> ----- Original Message -----
> From: "Teddy Kumpel" <teddybut@mac.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Thursday, February 07, 2008 9:18 PM
> Subject: Re: Eventide Time Factor
>
>
> > yes and yes
>

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Hmmm . . . so Yes and No sort of?&nbsp; I&#39;d better find a way to demo one then. That&#39;s really one of my favorite mangulations. <br>
<br>
Does the unit self-oscillate on short (or long for that matter) delay time settings?&nbsp; <br>
<br>
I know it may have already been asked, but does it have tap-tempo, or do you have to start with dialing a delay time? -Miko<br><br><div><span class="gmail_quote">On 2/7/08, <b class="gmail_sendername">Ian Popperwell</b> &lt;<a href="mailto:popperwell@iname.com">popperwell@iname.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Oh, that&#39;s interesting, I&#39;d have said Yes and no/sort of.<br><br>Yes the delay time&nbsp;&nbsp;can be controlled via MIDI and no, the changes don&#39;t<br>result in a pitch shift in all delay models. The tape delay has an<br>
&quot;emulation&quot; of that when time is changed.<br><br>----- Original Message -----<br>From: &quot;Teddy Kumpel&quot; &lt;<a href="mailto:teddybut@mac.com">teddybut@mac.com</a>&gt;<br>To: &lt;<a href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</a>&gt;<br>
Sent: Thursday, February 07, 2008 9:18 PM<br>Subject: Re: Eventide Time Factor<br><br><br>&gt; yes and yes<br></blockquote></div>

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From Loopers-Delight-request@loopers-delight.com  Fri Feb  8 20:55:34 2008
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From: Teddy Kumpel <teddybut@mac.com>
Subject: Re: Eventide Time Factor
Date: Fri, 8 Feb 2008 15:55:18 -0500
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ok, to clear up my answer, the filter delays do not follow pitch with  
delay time changes, the digi, tape and mod delays do. The reverse one  
might too I never tried.

tk

On Feb 7, 2008, at 5:12 PM, Ian Popperwell wrote:

> Oh, that's interesting, I'd have said Yes and no/sort of.
>
> Yes the delay time  can be controlled via MIDI and no, the changes  
> don't result in a pitch shift in all delay models. The tape delay  
> has an "emulation" of that when time is changed.
>
> ----- Original Message ----- From: "Teddy Kumpel" <teddybut@mac.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Thursday, February 07, 2008 9:18 PM
> Subject: Re: Eventide Time Factor
>
>
>> yes and yes
>>
>> it is super flexible with midi commands
>>
>> tk
>>
>>
>> On Feb 7, 2008, at 3:20 PM, Mikkoz wrote:
>>
>>> I'll throw in another query:  Can the delay time be manipulated  
>>> via midi, and if so, does it smoothly pitch bend in the direction  
>>> of  the time shift?
>>> -- 
>>> Miko Biffl
>>



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Subject: Re: Eventide Time Factor
Date: Fri, 8 Feb 2008 21:04:28 -0000
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Yes, it can now self-oscilate, if you mean 100% feedback and greater.

It has extensive tap tempo capabilities where the tap tempo can be =
individually or globally set. you tap quarter notes and the tempos come =
out in the measure that you've set.


  ----- Original Message -----=20
  From: Mikkoz=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Friday, February 08, 2008 7:30 PM
  Subject: Re: Eventide Time Factor


  Hmmm . . . so Yes and No sort of?  I'd better find a way to demo one =
then. That's really one of my favorite mangulations.=20

  Does the unit self-oscillate on short (or long for that matter) delay =
time settings? =20

  I know it may have already been asked, but does it have tap-tempo, or =
do you have to start with dialing a delay time? -Miko


  On 2/7/08, Ian Popperwell <popperwell@iname.com> wrote:
    Oh, that's interesting, I'd have said Yes and no/sort of.

    Yes the delay time  can be controlled via MIDI and no, the changes =
don't
    result in a pitch shift in all delay models. The tape delay has an
    "emulation" of that when time is changed.

    ----- Original Message -----
    From: "Teddy Kumpel" <teddybut@mac.com>
    To: <Loopers-Delight@loopers-delight.com>
    Sent: Thursday, February 07, 2008 9:18 PM
    Subject: Re: Eventide Time Factor


    > yes and yes

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	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3243" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Yes, it can now self-oscilate, if you mean 100% =
feedback and=20
greater.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>It has extensive tap tempo capabilities where the =
tap tempo=20
can be individually or globally set. you tap quarter notes and the =
tempos come=20
out in the measure that you've set.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dbiffoz@gmail.com =
href=3D"mailto:biffoz@gmail.com">Mikkoz</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Friday, February 08, 2008 =
7:30=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Eventide Time =
Factor</DIV>
  <DIV><BR></DIV>Hmmm . . . so Yes and No sort of?&nbsp; I'd better find =
a way=20
  to demo one then. That's really one of my favorite mangulations. =
<BR><BR>Does=20
  the unit self-oscillate on short (or long for that matter) delay time=20
  settings?&nbsp; <BR><BR>I know it may have already been asked, but =
does it=20
  have tap-tempo, or do you have to start with dialing a delay time?=20
  -Miko<BR><BR>
  <DIV><SPAN class=3Dgmail_quote>On 2/7/08, <B =
class=3Dgmail_sendername>Ian=20
  Popperwell</B> &lt;<A=20
  href=3D"mailto:popperwell@iname.com">popperwell@iname.com</A>&gt; =
wrote:</SPAN>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">Oh,=20
    that's interesting, I'd have said Yes and no/sort of.<BR><BR>Yes the =
delay=20
    time&nbsp;&nbsp;can be controlled via MIDI and no, the changes=20
    don't<BR>result in a pitch shift in all delay models. The tape delay =
has=20
    an<BR>"emulation" of that when time is changed.<BR><BR>----- =
Original=20
    Message -----<BR>From: "Teddy Kumpel" &lt;<A=20
    href=3D"mailto:teddybut@mac.com">teddybut@mac.com</A>&gt;<BR>To: =
&lt;<A=20
    =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>&gt;<BR>Sent:=20
    Thursday, February 07, 2008 9:18 PM<BR>Subject: Re: Eventide Time=20
    Factor<BR><BR><BR>&gt; yes and=20
yes<BR></BLOCKQUOTE></DIV></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Feb  8 21:27:46 2008
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Nothin'? Or did I just ask a stupid question?

~h

On 2/7/08, holotone@gmail.com <holotone@gmail.com> wrote:
>
> I've been trying to solve this little puzzle for a couple nights now, and
> at long last turn to the hive mind to sort it all out.
>
> Here are the critical components:
> Two loopers - A KP3 and Boss RC-50.
> One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends - One
> labled FX, one labeled MON - Upon review of the manual<http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf>,
> they are effectively the same thing. Each of the 12 channels has two knobs
> that determines the amount of the signal being sent to either of the sends.
>
> What I'd like to be able to do is to send to either OR both of the
> loopers, as well as send back and forth between the loopers. I understand
> that I can return either looper to its own channel, but feedback becomes an
> issue when I use this method to send to each other via channels. Is there
> any way to accomplish the setup I'm looking for?
>
> Further complicating the issue is the fact that the KP3 is stereo in,
> stereo out, while the send it self is mono - Currently I'm just using a
> stereo to mono adapter to "monoize" the signal before it hits the kp3.
>
> Help!
>
> Thanks,
> --
> ~holotone
> http://holotone.net/

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Nothin&#39;? Or did I just ask a stupid question?<br><br>~h<br><br><div><span class="gmail_quote">On 2/7/08, <b class="gmail_sendername"><a href="mailto:holotone@gmail.com">holotone@gmail.com</a></b> &lt;<a href="mailto:holotone@gmail.com">holotone@gmail.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I&#39;ve been trying to solve this little puzzle for a couple nights now, and at long last turn to the hive mind to sort it all out.<br><br>Here are the critical components:<br>Two loopers - A KP3 and Boss RC-50.<br>One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends - One labled FX, one labeled MON - Upon review of <a href="http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">the manual</a>, they are effectively the same thing. Each of the 12 channels has two knobs that determines the amount of the signal being sent to either of the sends.<br>

<br>What I&#39;d like to be able to do is to send to either OR both of the loopers, as well as send back and forth between the loopers. I understand that I can return either looper to its own channel, but feedback becomes an issue when I use this method to send to each other via channels. Is there any way to accomplish the setup I&#39;m looking for?<br>

<br>Further complicating the issue is the fact that the KP3 is stereo in, stereo out, while the send it self is mono - Currently I&#39;m just using a stereo to mono adapter to &quot;monoize&quot; the signal before it hits the kp3.<br>

<br>Help!<br><br clear="all">Thanks,<br><span class="sg">-- <br>~holotone<br><a href="http://holotone.net/" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://holotone.net/</a>
</span></blockquote></div>

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From Loopers-Delight-request@loopers-delight.com  Fri Feb  8 21:33:42 2008
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>	Nothin'? Or did I just ask a stupid question?

There are questions which don't have an answer that makes sense, at least
not in a world without screwdrivers...
If your problem is the "unwanted feedback issue" (which I understand being
you send e.g. aux1 to the KP3 and the KP3 to mixer channel 9 and 10, then if
you turn up aux1 on ch9 you get feedback), then one solution (which requires
a little more concentration during performance) is not turning up that aux,
the other one is to remove the pot or interrupt the leads on the PCB.

If your problem is furthermore that you want to send a stereo signal to the
KP3, I suggest using a mixer with subs.

	Rainer

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Hi everyone,

In an attempt to get rid of the towering racks, I am looking at racking all
my looping gear into a silver case. To further this cause, can anyone
recommend a 1 U mixer.

I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster C3/C3X  8
Channel - and the 12 Input 1U mixer Behringer RX1602.

Well of course the Behringer has most channels, most features and is most
like what I need, with one main problem... its Behringer. My current mixer
is a Behringer, and it sucks. But then again they made the FCB 1010 no
complaints there...

Any others, and have anyone got any of the above, can say nice of nasty
things about them. Someone was mentioning a Peavey a while back too...



-- 
www.markfrancombe.com
www.looop.no

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Hi everyone,<br><br>In an attempt to get rid of the towering racks, I
am looking at racking all my looping gear into a silver case. To
further this cause, can anyone recommend a 1 U mixer.<br><br>I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster <span><font face="Arial">C3/C3X &nbsp;8 Channel - and the 12 Input 1U mixer </font></span>Behringer RX1602.<br>

<br>Well of course the Behringer has most channels, most features and
is most like what I need, with one main problem... its Behringer. My
current mixer is a Behringer, and it sucks. But then again they made
the FCB 1010 no complaints there...<br>
<br>Any others, and have anyone got any of the above, can say nice of
nasty things about them. Someone was mentioning a Peavey a while back
too...<br><font color="#888888"><br clear="all"></font><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://www.looop.no">www.looop.no</a>

------=_Part_7079_15490430.1202506660153--

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Date: Fri, 8 Feb 2008 22:44:51 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Wiring Troubles: 2 Loopers & A Mixing Board
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On Feb 8, 2008 10:27 PM, holotone@gmail.com <holotone@gmail.com> wrote:
> Nothin'? Or did I just ask a stupid question?

Perfectly appropriate question - I just skipped over it on the subject
line since I have not been using a mixer (for looping) in many years.


> > I've been trying to solve this little puzzle for a couple nights now, and
> at long last turn to the hive mind to sort it all out.
> >
> > Here are the critical components:
> > Two loopers - A KP3 and Boss RC-50.
> > One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends - One
> labled FX, one labeled MON - Upon review of the manual, they are effectively
> the same thing. Each of the 12 channels has two knobs that determines the
> amount of the signal being sent to either of the sends.
> >
> > What I'd like to be able to do is to send to either OR both of the
> loopers, as well as send back and forth between the loopers. I understand
> that I can return either looper to its own channel, but feedback becomes an
> issue when I use this method to send to each other via channels. Is there
> any way to accomplish the setup I'm looking for?

Kill the direct signals passing through the loopers. Set them to "all
wet" signal, ie only sending out the looped signal.


> > Further complicating the issue is the fact that the KP3 is stereo in,
> stereo out, while the send it self is mono - Currently I'm just using a
> stereo to mono adapter to "monoize" the signal before it hits the kp3.

How's that "complicated"? As far as I understand that's as good as
anything. If you want it in mono, that is. But if you want to send a
stereo signal to be looped by the KP you can use both mono sends and
bring back the loops into the mixer on a normal stereo track. You
could also look for a "sub mix" or "sub group" channel/output for the
send output.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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Date: Fri, 8 Feb 2008 14:25:44 -0800 (PST)
From: Stephen Scott <stevoj@yahoo.com>
Subject: Re: Recommend me a 1 U mixer please
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mark francombe <mark@markfrancombe.com> wrote: Hi everyone,

In an attempt to get rid of the towering racks, I am looking at racking all my looping gear into a silver case. To further this cause, can anyone recommend a 1 U mixer.

I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster C3/C3X  8 Channel - and the 12 Input 1U mixer Behringer RX1602.
  
Well of course the Behringer has most channels, most features and is most like what I need, with one main problem... its Behringer. My current mixer is a Behringer, and it sucks. But then again they made the FCB 1010 no complaints there...
 
Any others, and have anyone got any of the above, can say nice of nasty things about them. Someone was mentioning a Peavey a while back too...
-- 
www.markfrancombe.com
www.looop.no I've just done the same as you are, getting all my gear into a smaller case.  I chose the Behringer RX1602 and am pleased with it.  Very cheap, no problems with hiss or noise, loads of headroom, aux send, and a handy mute button per channel.  Balanced inputs if you need them. It suits me fine. You know the specs, only you will know if it suits you. I have no issues with the quality of this (or other Behringer products I have) for the price. 

Stephen Scott
www.myspace.com/sylvianfisher



       
---------------------------------
Looking for last minute shopping deals?  Find them fast with Yahoo! Search.
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<b><i>mark francombe &lt;mark@markfrancombe.com&gt;</i></b> wrote:<blockquote class="replbq" style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"> Hi everyone,<br><br>In an attempt to get rid of the towering racks, I am looking at racking all my looping gear into a silver case. To further this cause, can anyone recommend a 1 U mixer.<br><br>I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster <span><font face="Arial">C3/C3X &nbsp;8 Channel - and the 12 Input 1U mixer </font></span>Behringer RX1602.<br>  <br>Well of course the Behringer has most channels, most features and is most like what I need, with one main problem... its Behringer. My current mixer is a Behringer, and it sucks. But then again they made the FCB 1010 no complaints there...<br> <br>Any others, and have anyone got any of the above, can say nice of nasty things about them. Someone was mentioning a Peavey a while back too...<br>-- <br><a
 href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://www.looop.no">www.looop.no</a> </blockquote>I've just done the same as you are, getting all my gear into a smaller case.&nbsp; I chose the Behringer RX1602 and am pleased with it.&nbsp; Very cheap, no problems with hiss or noise, loads of headroom, aux send, and a handy mute button per channel.&nbsp; Balanced inputs if you need them. It suits me fine. You know the specs, only you will know if it suits you. I have no issues with the quality of this (or other Behringer products I have) for the price. <br><br>Stephen Scott<br>www.myspace.com/sylvianfisher<br><br><br><span style="z-index: 10; position: relative;"></span><p>&#32;
      <hr size=1>Looking for last minute shopping deals? <a href="http://us.rd.yahoo.com/evt=51734/*http://tools.search.yahoo.com/newsearch/category.php?category=shopping"> 
Find them fast with Yahoo! Search.</a>
--0-1707898064-1202509544=:61165--

From Loopers-Delight-request@loopers-delight.com  Fri Feb  8 22:51:18 2008
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Subject: Re: Eventide Time Factor
Date: Fri, 8 Feb 2008 22:51:57 -0000
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Hi,

This isn't quite right, The TF only does the pitch shifting thing with two 
of the models (as far as I can work out), these are the tape echo and the 
Mod delay. The others merely extend or reduce the delay time without 
changing pitch. This actually gives two uses, one is of course the clasic 
speeding up slowing down effect, whilst the changing time without pitch 
enables really interesting possibilities within delays, it also works with 
the repeat function, where you can shorten or extend the phrase or whatever 
is held and create interesting rhythmic patterns.

Ian.

----- Original Message ----- 
From: "Teddy Kumpel" <teddybut@mac.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, February 08, 2008 8:55 PM
Subject: Re: Eventide Time Factor


> ok, to clear up my answer, the filter delays do not follow pitch with 
> delay time changes, the digi, tape and mod delays do. The reverse one 
> might too I never tried.
>
> tk
>
> On Feb 7, 2008, at 5:12 PM, Ian Popperwell wrote:
>
>> Oh, that's interesting, I'd have said Yes and no/sort of.
>>
>> Yes the delay time  can be controlled via MIDI and no, the changes  don't 
>> result in a pitch shift in all delay models. The tape delay  has an 
>> "emulation" of that when time is changed.
>>
>> ----- Original Message ----- From: "Teddy Kumpel" <teddybut@mac.com>
>> To: <Loopers-Delight@loopers-delight.com>
>> Sent: Thursday, February 07, 2008 9:18 PM
>> Subject: Re: Eventide Time Factor
>>
>>
>>> yes and yes
>>>
>>> it is super flexible with midi commands
>>>
>>> tk
>>>
>>>
>>> On Feb 7, 2008, at 3:20 PM, Mikkoz wrote:
>>>
>>>> I'll throw in another query:  Can the delay time be manipulated  via 
>>>> midi, and if so, does it smoothly pitch bend in the direction  of  the 
>>>> time shift?
>>>> -- 
>>>> Miko Biffl
>>>
>
>
>
>
> 



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Rane makes some cool 1U mixers as well.  Off the top of my head, I don't =
remember what features they have.
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<DIV><FONT face=3DArial size=3D2>Rane makes some cool 1U mixers as =
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the top of my head, I don't remember what features they=20
have.</FONT></DIV></BODY></HTML>

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You might consider a Mackie or other decent small mixer board on a =
single space, roll-out rack tray.  Personally, wouldn't bother with the =
single space rack units.=20

K-
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<DIV><FONT face=3DArial size=3D2>You might consider a Mackie or =
other&nbsp;decent=20
small mixer board&nbsp;on a single space, roll-out rack=20
tray.&nbsp;&nbsp;Personally, wouldn't bother with the single space rack =
units.=20
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I've never seen a small flat mixer that fit into 1U when it was on a rack
tray.  It turns into 2U from the bottom of the tray up, and then depending
on your tray, you  may lose the ability to put anything below the tray.

TH

On Feb 8, 2008 4:33 PM, Krispen Hartung <khartung@cableone.net> wrote:

>  You might consider a Mackie or other decent small mixer board on a single
> space, roll-out rack tray.  Personally, wouldn't bother with the single
> space rack units.
>
> K-
>

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I&#39;ve never seen a small flat mixer that fit into 1U when it was on a rack tray.&nbsp; It turns into 2U from the bottom of the tray up, and then depending on your tray, you&nbsp; may lose the ability to put anything below the tray.<br>
<br>TH<br><br><div class="gmail_quote">On Feb 8, 2008 4:33 PM, Krispen Hartung &lt;<a href="mailto:khartung@cableone.net">khartung@cableone.net</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">






<div bgcolor="#ffffff">
<div><font face="Arial" size="2">You might consider a Mackie or other&nbsp;decent 
small mixer board&nbsp;on a single space, roll-out rack 
tray.&nbsp;&nbsp;Personally, wouldn&#39;t bother with the single space rack units. 
</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">K-</font></div></div>
</blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 01:15:57 2008
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Date: Fri, 8 Feb 2008 17:15:54 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Recommend me a 1 U mixer please
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Hi Stephen,
dont know what specs you are looking for but you might
also want to check this one out:
http://www.thomann.de/gb/rolls_rm65b.htm
cheers
Luis





--- Stephen Scott <stevoj@yahoo.com> wrote:

> mark francombe <mark@markfrancombe.com> wrote: Hi
> everyone,
> 
> In an attempt to get rid of the towering racks, I am
> looking at racking all my looping gear into a silver
> case. To further this cause, can anyone recommend a
> 1 U mixer.
> 
> I have looked at the Rolls RM203X, 9 stereo ch....
> the Soundmaster C3/C3X  8 Channel - and the 12 Input
> 1U mixer Behringer RX1602.
>   
> Well of course the Behringer has most channels, most
> features and is most like what I need, with one main
> problem... its Behringer. My current mixer is a
> Behringer, and it sucks. But then again they made
> the FCB 1010 no complaints there...
>  
> Any others, and have anyone got any of the above,
> can say nice of nasty things about them. Someone was
> mentioning a Peavey a while back too...
> -- 
> www.markfrancombe.com
> www.looop.no I've just done the same as you are,
> getting all my gear into a smaller case.  I chose
> the Behringer RX1602 and am pleased with it.  Very
> cheap, no problems with hiss or noise, loads of
> headroom, aux send, and a handy mute button per
> channel.  Balanced inputs if you need them. It suits
> me fine. You know the specs, only you will know if
> it suits you. I have no issues with the quality of
> this (or other Behringer products I have) for the
> price. 
> 
> Stephen Scott
> www.myspace.com/sylvianfisher
> 
> 
> 
>        
> ---------------------------------
> Looking for last minute shopping deals?  Find them
> fast with Yahoo! Search.


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Looking for last minute shopping deals?  
Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 01:19:20 2008
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Date: Fri, 8 Feb 2008 17:19:18 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Eventide Time Factor
To: Loopers-Delight@loopers-delight.com
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Hi Ian,
I read somewhere that there is a volume drop on this
units even when bypassed,how critical is it?
thanx
Luis


--- Ian Popperwell <popperwell@iname.com> wrote:

> Yes, it can now self-oscilate, if you mean 100%
> feedback and greater.
> 
> It has extensive tap tempo capabilities where the
> tap tempo can be individually or globally set. you
> tap quarter notes and the tempos come out in the
> measure that you've set.
> 
> 
>   ----- Original Message ----- 
>   From: Mikkoz 
>   To: Loopers-Delight@loopers-delight.com 
>   Sent: Friday, February 08, 2008 7:30 PM
>   Subject: Re: Eventide Time Factor
> 
> 
>   Hmmm . . . so Yes and No sort of?  I'd better find
> a way to demo one then. That's really one of my
> favorite mangulations. 
> 
>   Does the unit self-oscillate on short (or long for
> that matter) delay time settings?  
> 
>   I know it may have already been asked, but does it
> have tap-tempo, or do you have to start with dialing
> a delay time? -Miko
> 
> 
>   On 2/7/08, Ian Popperwell <popperwell@iname.com>
> wrote:
>     Oh, that's interesting, I'd have said Yes and
> no/sort of.
> 
>     Yes the delay time  can be controlled via MIDI
> and no, the changes don't
>     result in a pitch shift in all delay models. The
> tape delay has an
>     "emulation" of that when time is changed.
> 
>     ----- Original Message -----
>     From: "Teddy Kumpel" <teddybut@mac.com>
>     To: <Loopers-Delight@loopers-delight.com>
>     Sent: Thursday, February 07, 2008 9:18 PM
>     Subject: Re: Eventide Time Factor
> 
> 
>     > yes and yes
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

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Date: Sat, 9 Feb 2008 02:27:38 +0100
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Thanks for all the advise.. Mackie would be way out of my league, looking
for the Rane now... and I'm done with rack pull outs, well not yet, I have
TWO drawers now one with my current mixer and one with misc effects that
have to be near my right hand. Of course, Im really looking for a routing
solution more than a mixer, and "mixing" I do, is done methodically in a
computer, this is just set up levels, and GO!

I AM still tempted my the cheapo Behringer cos its got mutes, and Im always
recording into my loopers with MY signal muted. Im just so goddam sick of my
current piece of crap of a mixer... I mean.. if its true that they stole
Mackie designs then.. well frankly Mackie must be crap too...

NO Im sure my mixer MUST be a glitch... I might have to risk the 1 u .. at
least its cheap!! Maybe Ill get 2, incese the 1st one goes down...!!!

Thanks for the advise chaps, sometimes you just gotta write to someone to
figure things out for yerself!!!

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Thanks for all the advise.. Mackie would be way out of my league,
looking for the Rane now... and I&#39;m done with rack pull outs, well not
yet, I have TWO drawers now one with my current mixer and one with misc
effects that have to be near my right hand. Of course, Im really
looking for a routing solution more than a mixer, and &quot;mixing&quot; I do, is done methodically in a computer,
this is just set up levels, and GO! <br><br>I AM still tempted my the
cheapo Behringer cos its got mutes, and Im always recording into my
loopers with MY signal muted. Im just so goddam sick of my current
piece of crap of a mixer... I mean.. if its true that they stole Mackie
designs then.. well frankly Mackie must be crap too... <br><br>NO
Im sure my mixer MUST be a glitch... I might have to risk the 1 u .. at
least its cheap!! Maybe Ill get 2, incese the 1st one goes
down...!!!<br><br>Thanks for the advise chaps, sometimes
you just gotta write to someone to figure things out for yerself!!!

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> Im really looking for a routing solution more than a mixer,=20

I totally understand this issue.  In fact, I've pretty much sold myself =
on the idea that I'll be building my own mixer for myself.  I'm also in =
the market for a 1U solution that does exactly what I want.  So, I =
figure that I'll just go out and build it.

Bob
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<DIV><FONT face=3DArial size=3D2>&gt; </FONT>Im really looking for a =
routing=20
solution more than a mixer, </DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I totally understand this issue.&nbsp; =
In fact,=20
I've pretty much sold myself on the idea that I'll be building my own =
mixer for=20
myself.&nbsp; I'm also in the market for a 1U solution that does exactly =
what I=20
want.&nbsp; So, I figure that I'll just go out and build =
it.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Bob</FONT></DIV></BODY></HTML>

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Date: Fri, 08 Feb 2008 19:24:05 -0600
From: Jeff Shirkey <jcshirke@midway.uchicago.edu>
Subject: Re: Eventide Time Factor
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On Feb 8, 2008, at 7:19 PM, L.A. Angulo wrote:

> Hi Ian,
> I read somewhere that there is a volume drop on this
> units even when bypassed,how critical is it?
> t

No, that's b.s. Any problems with the earliest units have been fixed,  
but I never heard of a volume drop being one of them.

Jeff

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Subject: Re: Recommend me a 1 U mixer please
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Two space it is then! :) Comments still apply.  I wish Mackie would make =
a rack mount unit....something like the 12 channel board, with all =
mic/line inputs, etc. The thing I don't like about most rackmount mixers =
is that they are so restrictive on the mic inputs, vs. line...damn =
stingy.   Hell, I don't know why I'm even making suggestions here....I =
do everything with my  FW400 and laptop. But I do recall coveting a =
decent rackmount mixer and being very frustrated with the options.=20

Kris



  ----- Original Message -----=20

  I've never seen a small flat mixer that fit into 1U when it was on a =
rack tray.  It turns into 2U from the bottom of the tray up, and then =
depending on your tray, you  may lose the ability to put anything below =
the tray.

  TH


  On Feb 8, 2008 4:33 PM, Krispen Hartung <khartung@cableone.net> wrote:

    You might consider a Mackie or other decent small mixer board on a =
single space, roll-out rack tray.  Personally, wouldn't bother with the =
single space rack units.=20

    K-


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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Two space it is then! :) Comments still =

apply.&nbsp; I wish Mackie would make a rack mount unit....something =
like the 12=20
channel board, with all mic/line inputs, etc. The thing I don't like =
about most=20
rackmount mixers is that they are so restrictive on the mic inputs, vs.=20
line...damn stingy.&nbsp;&nbsp; Hell, I don't know why I'm even making=20
suggestions here....I do everything with my&nbsp; FW400 and laptop. But =
I do=20
recall coveting a decent rackmount mixer and being very frustrated with =
the=20
options. </FONT></DIV><FONT face=3DArial size=3D2>
<DIV><BR>Kris</DIV>
<DIV></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>I've never seen a =
small flat=20
  mixer that fit into 1U when it was on a rack tray.&nbsp; It turns into =
2U from=20
  the bottom of the tray up, and then depending on your tray, you&nbsp; =
may lose=20
  the ability to put anything below the tray.<BR><BR>TH<BR><BR>
  <DIV class=3Dgmail_quote>On Feb 8, 2008 4:33 PM, Krispen Hartung =
&lt;<A=20
  href=3D"mailto:khartung@cableone.net">khartung@cableone.net</A>&gt; =
wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">
    <DIV bgcolor=3D"#ffffff">
    <DIV><FONT face=3DArial size=3D2>You might consider a Mackie or=20
    other&nbsp;decent small mixer board&nbsp;on a single space, roll-out =
rack=20
    tray.&nbsp;&nbsp;Personally, wouldn't bother with the single space =
rack=20
    units. </FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial=20
size=3D2>K-</FONT></DIV></DIV></BLOCKQUOTE></DIV><BR></BLOCKQUOTE></BODY>=
</HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 04:11:43 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Recommend me a 1 U mixer please
Date: Fri, 8 Feb 2008 20:11:36 -0800
To: Loopers-Delight@loopers-delight.com
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Mark,

Look round for a used Roland M-120 or Rocktron G612.

I have owned both and can highly recommend either one (if it's in good=20=

shape).

Too bad I sold my M-120 on Ebay only a couple of months ago (and my=20
Rocktron G612 some moths before that).

If you don't absolutely need 2 aux sends per channel and if 10 channels=20=

would do you just as well as 12 there is also the Roland/Boss MX-10=20
which has the added benefit of being only half rack in width (something=20=

also seen on Ebay from time to time).

The MX-10 is more or less what I am using until I get a MOTU Ultralite=20=

(or something like it) an go lap-top.

Anywho, their are strengths an weaknesses of both rack mount mixers and=20=

their table top cousins.

If you plan to twiddle and tweeze levels a lot during a performance=20
pick a table top model (it'll be easier to see the relative vertical=20
positions of sliding faders (when it's critical) as opposed to little=20
round knobs.

Stick it on top of your rack where you can see it and away you go.

If you more or less tend to set your levels once and then otherwise=20
control volumes with instrument knobs and pedals then a rack-mount=20
mixer with tiny knobs will not be a bad choice at all.

I tend to be one of the "set and forget types" so rack mixers have been=20=

ideal for me for the last dozen years or so.

I dial in all my levels once and tweak specific instruments or over-all=20=

volume by other means.

Cheers,

Ted

On Feb 8, 2008, at 1:37 PM, mark francombe wrote:

> Hi everyone,
>
> In an attempt to get rid of the towering racks, I am looking at=20
> racking all my looping gear into a silver case. To further this cause,=20=

> can anyone recommend a 1 U mixer.
>
> I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster=20
> C3/C3X =A08 Channel - and the 12 Input 1U mixer Behringer RX1602.
>
> Well of course the Behringer has most channels, most features and is=20=

> most like what I need, with one main problem... its Behringer. My=20
> current mixer is a Behringer, and it sucks. But then again they made=20=

> the FCB 1010 no complaints there...
>
> Any others, and have anyone got any of the above, can say nice of=20
> nasty things about them. Someone was mentioning a Peavey a while back=20=

> too...
>
>
>
> --=20
> www.markfrancombe.com
> www.looop.no=

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 04:15:59 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Torn gig on uk radio, streaming, and download later
Date: Fri, 8 Feb 2008 20:15:54 -0800
To: Loopers-Delight@loopers-delight.com
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Thanks Andy!

I listened to most of it (and the program that followed).

DT & Co. were really tearing it up.

Some really dense, intense, so-ugly-it's-beautiful music there.

I'm a Tim Bern fan too so it was a double treat.

Cheers,

Ted


On Feb 8, 2008, at 6:11 AM, andy butler wrote:

> a gig from David Torn's Prezens tour is to be broadcast on bbc radio3 
> tonight (early evening for US)
>
> http://www.bbc.co.uk/radio3/jazzon3/pip/3c1t2/
>
> Radio 3, like all bbc radio channels is available online.
> ...and they have a "listen again" function where they make it 
> available as a free download for a period of a week.
>
> andy butler
>

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 04:20:05 2008
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To: Loopers-Delight@loopers-delight.com
From: Rev Fever <revfever@ubergadget.com>
Subject: OT: ATTN: Anthony/ manual for multivox multi-echo
Date: Fri, 8 Feb 2008 20:19:58 -0800
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Sorry LD list, but I really need to relay this message via the LD  
list to reach this person. It is important for me. Thanx for  
understanding.

(Good ol' Yahoo kept giving returns on the replies I previously TRIED  
to make, and TO a Yahoo address that the original mail CAME FROM.
Go figure..?)

======================================================================== 
=========================

Hey Anthony,

Thanx for the offer on the manual!  I have looking for it for a LONG  
time.

Yahoo kept returning my replies to you, so please send another email  
about this to my alternate email address:

downeyjones@gmail.com

TIA!

-Rev.Fever

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 06:26:01 2008
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From: "Qua Veda" <qua@oregon.com>
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Subject: RE: Torn gig on uk radio, streaming, and download later
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Presenz is currently my favorite CD and has been for quite awhile.  Just
amazing to hear the live show on the BBC -  thanks for sharing the link !! 

Qua


On Feb 8, 2008, at 6:11 AM, andy butler wrote:

> a gig from David Torn's Prezens tour is to be broadcast on bbc radio3 
> tonight (early evening for US)
>
> http://www.bbc.co.uk/radio3/jazzon3/pip/3c1t2/
>
> Radio 3, like all bbc radio channels is available online.
> ...and they have a "listen again" function where they make it 
> available as a free download for a period of a week.
>
> andy butler
>

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 08:02:51 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject:  Recommend me a 1 U mixer please
Date: Sat, 9 Feb 2008 00:02:48 -0800
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 I have a Rane SM82, I'm happy with. I wish it had two effects loops, but it
does have a true stereo effects loop and 8 stereo channels, and it is clean
sounding. It also has an aux stereo TRS out which is handy if you want to
take a stereo feed for live recording.

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>&nbsp;I have a Rane SM82, I&#8217;m happy with. I =
wish it had two
effects loops, but it does have a true stereo effects loop and 8 stereo
channels, and it is clean sounding. It also has an aux stereo TRS out =
which is
handy if you want to take a stereo feed for live =
recording.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Bill<o:p></o:p></span></font></p>

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From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 08:57:09 2008
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Date: Sat, 9 Feb 2008 00:57:08 -0800 (PST)
From: Stephen Scott <stevoj@yahoo.com>
Subject: Re: Recommend me a 1 U mixer please
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Out of interest, which is your current Behringer mixer, and why do you dislike it so much ?  As well as my RX1602, I also have the Xenyx 1622 which, apart from a couple of very minor niggles, has also proved it's worth.  I really appreciated the sub-groups (on this £120 mixer).

Stephen Scott
www.myspace.com/sylvianfisher


mark francombe <mark@markfrancombe.com> wrote: Hi everyone,

In an attempt to get rid of the towering racks, I am looking at racking all my looping gear into a silver case. To further this cause, can anyone recommend a 1 U mixer.

I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster C3/C3X  8 Channel - and the 12 Input 1U mixer Behringer RX1602.
  
Well of course the Behringer has most channels, most features and is most like what I need, with one main problem... its Behringer. My current mixer is a Behringer, and it sucks. But then again they made the FCB 1010 no complaints there...
 
Any others, and have anyone got any of the above, can say nice of nasty things about them. Someone was mentioning a Peavey a while back too...



-- 
www.markfrancombe.com
www.looop.no 

       
---------------------------------
Never miss a thing.   Make Yahoo your homepage.
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Out of interest, which is your current Behringer mixer, and why do you dislike it so much ?&nbsp; As well as my RX1602, I also have the Xenyx 1622 which, apart from a couple of very minor niggles, has also proved it's worth.&nbsp; I really appreciated the sub-groups (on this £120 mixer).<br><br>Stephen Scott<br>www.myspace.com/sylvianfisher<br><br><br><b><i>mark francombe &lt;mark@markfrancombe.com&gt;</i></b> wrote:<blockquote class="replbq" style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"> Hi everyone,<br><br>In an attempt to get rid of the towering racks, I am looking at racking all my looping gear into a silver case. To further this cause, can anyone recommend a 1 U mixer.<br><br>I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster <span><font face="Arial">C3/C3X &nbsp;8 Channel - and the 12 Input 1U mixer </font></span>Behringer RX1602.<br>  <br>Well of course the Behringer has most channels, most features and is most
 like what I need, with one main problem... its Behringer. My current mixer is a Behringer, and it sucks. But then again they made the FCB 1010 no complaints there...<br> <br>Any others, and have anyone got any of the above, can say nice of nasty things about them. Someone was mentioning a Peavey a while back too...<br><font color="#888888"><br clear="all"></font><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://www.looop.no">www.looop.no</a> </blockquote><br><p>&#32;

      <hr size=1>Never miss a thing.  <a href="http://us.rd.yahoo.com/evt=51438/*http://www.yahoo.com/r/hs"> Make Yahoo your homepage.</a>


--0-1666256134-1202547428=:91543--

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 09:04:01 2008
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Date: Sat, 9 Feb 2008 01:03:58 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: LUIS ANGULO's new Rock En Espanol  project on MySpace
To: Loopers-Delight@loopers-delight.com
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Rick thanx and everybody else listening!
peace
Luis


--- Rick Walker <looppool@cruzio.com> wrote:

> I just got a listen to the first track from Mexican
> live looper, Luis 
> Angulo's brand new Rock En Espanol project and was
> so
> impressed that I wanted to share it with everyone.
> 
>
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=49546016
> 
> It's very cool to hear his take on (and deep love
> for) a live loopoing 
> sensibility in the creatiion of this track,
> 'Barcelona',  though it is not a live looping track
> per se.
> 
> Well written, performed and self produced, it's just
> really well done by a 
> very deep and soulful member of our community
> (living in expatriate sin with a beautiful German
> wife and two cute children 
> in Radolfzell, Germany)
> 
> This rocks, Luis and is very beautiful and
> melancholy to boot.
> 
> I can't wait to buy the album when it's
> released..............please let us 
> know!
> 
> yours,
> 
> Rick Walker 
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile.  Try it now.  http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ 

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 09:11:35 2008
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Date: Sat, 09 Feb 2008 04:10:55 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen To The AM/FM Show
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THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be Saturday, February 9 at 6:00
am EST/GMT-5, less than two hours from now.  I will start a special on
Sequences Electronic Music Magazine's sampler CDs.

Tune in to WMUH Allentown at 91.7 FM, broadcasting from the campus of
Muhlenberg College.  I alternate hosting the show with Bruce.  When I
am at the helm, the show features electronic, ambient, and spacemusic
at the beginning, an eclectic mix of genres in the middle, and winds
up with Progressive Rock.  WMUH's web site is
http://muhlenberg.edu/wmuh

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 10:30:40 2008
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Date: Sat, 9 Feb 2008 11:30:39 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Torn gig on uk radio, streaming, and download later
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	 <0ff401790da737ba980e7dc96b8a37c1@charter.net>
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 > On Feb 8, 2008, at 6:11 AM, andy butler wrote:
>
> > a gig from David Torn's Prezens tour is to be broadcast on bbc radio3
> > tonight (early evening for US)
> >
> > http://www.bbc.co.uk/radio3/jazzon3/pip/3c1t2/
> >
> > Radio 3, like all bbc radio channels is available online.
> > ...and they have a "listen again" function where they make it
> > available as a free download for a period of a week.
> >
> > andy butler


Thanks! Listening right now. Wow, the realplayer has gotten better
lately. Great sound here!

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 11:19:37 2008
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Subject: Re: Eventide Time Factor
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Hi Luis


This was written about a lot in the pre-release versions (I think) I tend to 
use mine engaged in one way or another most of the time, but whilst not 
having done critical tests, I don't notice anything (on my flute sound).

Ian.


----- Original Message ----- 
From: "L.A. Angulo" <labaloops@yahoo.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Saturday, February 09, 2008 1:19 AM
Subject: Re: Eventide Time Factor


Hi Ian,
I read somewhere that there is a volume drop on this
units even when bypassed,how critical is it?
thanx
Luis


--- Ian Popperwell <popperwell@iname.com> wrote:

> Yes, it can now self-oscilate, if you mean 100%
> feedback and greater.
>
> It has extensive tap tempo capabilities where the
> tap tempo can be individually or globally set. you
> tap quarter notes and the tempos come out in the
> measure that you've set.
>
>
>   ----- Original Message ----- 
>   From: Mikkoz
>   To: Loopers-Delight@loopers-delight.com
>   Sent: Friday, February 08, 2008 7:30 PM
>   Subject: Re: Eventide Time Factor
>
>
>   Hmmm . . . so Yes and No sort of?  I'd better find
> a way to demo one then. That's really one of my
> favorite mangulations.
>
>   Does the unit self-oscillate on short (or long for
> that matter) delay time settings?
>
>   I know it may have already been asked, but does it
> have tap-tempo, or do you have to start with dialing
> a delay time? -Miko
>
>
>   On 2/7/08, Ian Popperwell <popperwell@iname.com>
> wrote:
>     Oh, that's interesting, I'd have said Yes and
> no/sort of.
>
>     Yes the delay time  can be controlled via MIDI
> and no, the changes don't
>     result in a pitch shift in all delay models. The
> tape delay has an
>     "emulation" of that when time is changed.
>
>     ----- Original Message -----
>     From: "Teddy Kumpel" <teddybut@mac.com>
>     To: <Loopers-Delight@loopers-delight.com>
>     Sent: Thursday, February 07, 2008 9:18 PM
>     Subject: Re: Eventide Time Factor
>
>
>     > yes and yes
>


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page.
http://www.yahoo.com/r/hs





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Date: Sat, 9 Feb 2008 18:14:30 +0200
From: "Panagiotis Melidis" <pmelidis@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Rc-50 ext. midi control (eg. FCB 1010)
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------=_Part_22189_137972.1202573670867
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Hey there.

I guess what i'm trying to do is not possible, but i want to have some
opinions first.
So, i use the rc50 on the table, with my hands, because i switch quite often
the output from main to sub, and other functions like that.

But sometimes, i feel like i would like to use my feet to nail this guitar
loop without having to record 4 measures of air beforehand!!

but from what i saw in the manual, a lot of things are midi controllable,
but not the record function itself.

Am i right? or am i wrong? anyone ever tried something remotely closed to
this?

all i want is trigger record start and stop with my feet. hmmm. i guess im
asking too much

thanks a lot in advance!


--
panagiotis melidis
http://myspace.com/larrygus

------=_Part_22189_137972.1202573670867
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Hey there.<br><br>I guess what i&#39;m trying to do is not possible, but i want to have some opinions first.<br>So, i use the rc50 on the table, with my hands, because i switch quite often the output from main to sub, and other functions like that.<br>
<br>But sometimes, i feel like i would like to use my feet to nail this guitar loop without having to record 4 measures of air beforehand!!<br><br>but from what i saw in the manual, a lot of things are midi controllable, but not the record function itself.<br>
<br>Am i right? or am i wrong? anyone ever tried something remotely closed to this?<br><br>all i want is trigger record start and stop with my feet. hmmm. i guess im asking too much<br><br>thanks a lot in advance!<br><br>
<br>--<br>panagiotis melidis<br><a href="http://myspace.com/larrygus">http://myspace.com/larrygus</a><br>

------=_Part_22189_137972.1202573670867--

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 16:29:59 2008
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Date: Sat, 09 Feb 2008 11:29:24 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #566 for February 7, 2008
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http://wdiy.org/programs/gt/playlists/2008/080207.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.  WDIY also broadcasts
in Digital HD at 88.1 FM.

                Show #566                February 7, 2008

RECAP:
On this show, I started a month-long focus on Manikin Records.  The
Featured CD at Midnight was disk one from "First Decade 1992 - 2002."

Manikin Records:
http://wdiy.org/programs/gt/playlists/2008/focus.html#feb


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Kevin Braheny        Starflight 1 *       Galaxies (Hearts of Space)
Ian Boddy            Out There            The Mechanics of a Thought
                                            (DiNDDL)
M.Reuter and R.Rich  Reductive            Eleven Questions (Unsung)
Micro Nonet          Kaika                The Marmalade Balloonn (Micro
                                            Nonet)
Between Interval     Radio Silence        Radio Silence (Spotted Peccary)
Between Interval     Aerolith             Radio Silence (Spotted Peccary)
Between Interval     The Dark Light       Radio Silence (Spotted Peccary)
Spyra                Post Train To        Ten Short Tracks (Manikin)
                       Bayreuth
Harald Grosskopf     Nostolgia76          Ten Short Tracks (Manikin)

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Fanger and           Echo Gods            Ten Short Tracks (Manikin)
  Schonwalder
Klaus Schulze        Manikin Jubilee      Ten Short Tracks (Manikin)
Fanger and Kersten   Terraforming         Ten Short Tracks (Manikin)
Arcanum vs. Otarion  The Overdub          Ten Short Tracks (Manikin)
Mario Schonwalder    Lightyears Before... Ten Short Tracks (Manikin)
Nightcrawlers        Broken Symmetry      Ten Short Tracks (Manikin)
Beatboys             Scaling the Moon     Ten Short Tracks (Manikin)
Digital Mechanics    Triduum              Ten Short Tracks (Manikin)
Fanger and           Electronic Mirrors   Ten Short Tracks (Manikin)
  Schonwalder          Chapter Seven

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
Manikin Records.  The Featured CD at Midnight will be disk two from
"First Decade 1992 - 2002."

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EST (GMT-5:00) 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.  WDIY also broadcasts in HD Digital Radio
on 88.1 FM.
Galactic Travels web site: http://galactictravels.info
MySpace: http://myspace.com/galactictravels
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
Listen on-line to WDIY at http://wdiy.org and click on the LISTEN link
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Playlists are also published at http://billfox.blogspot.com
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From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 16:36:05 2008
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Date: Sat, 09 Feb 2008 10:36:02 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Rc-50 ext. midi control (eg. FCB 1010)
References: <d239db9a0802090814l5aa18839qc2ed52e264f422c8@mail.gmail.com>
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Quoting Panagiotis Melidis <pmelidis@gmail.com>:
>
>
> Am i right? or am i wrong? anyone ever tried something remotely closed to
> this?
>
> all i want is trigger record start and stop with my feet. hmmm. i guess im
> asking too much
>
You don't really have to use MIDI control.

You can plug external foot pedals into your RC50.  Thus, you can keep  
the RC50's control panel within reach and have foot pedals on the floor.

-- Kevin

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 16:56:07 2008
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Date: Sat, 9 Feb 2008 18:56:06 +0200
From: "Panagiotis Melidis" <pmelidis@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Rc-50 ext. midi control (eg. FCB 1010)
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Hello Kevin

Thanks for your immediate answer!

on page 71 of the english manual, it has the table of the commands you can
send to RC50 via ext pedals.
(and on page 78 you get the midi one too...)

for phrase # ply/stp however, it says that playback does not start if the
phrase is blank. if it wasnt so, when a phrase was blank, it could start
recording immediately.

hmmm.

so, my main concern was(and it still is i suppose) that i can do anything,
but record, via external control.

Please, correct me if i'm wrong! I'd love to!!! :-)

2008/2/9, kkissinger@kevinkissinger.com <kkissinger@kevinkissinger.com>:
>
> Quoting Panagiotis Melidis <pmelidis@gmail.com>:
> >
> >
> > Am i right? or am i wrong? anyone ever tried something remotely closed
> to
> > this?
> >
> > all i want is trigger record start and stop with my feet. hmmm. i guess
> im
> > asking too much
> >
> You don't really have to use MIDI control.
>
> You can plug external foot pedals into your RC50.  Thus, you can keep
> the RC50's control panel within reach and have foot pedals on the floor.
>
> -- Kevin
>
>

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Hello Kevin<br><br>Thanks for your immediate answer!<br><br>on page 71 of the english manual, it has the table of the commands you can send to RC50 via ext pedals.<br>(and on page 78 you get the midi one too...)<br><br>for phrase # ply/stp however, it says that playback does not start if the phrase is blank. if it wasnt so, when a phrase was blank, it could start recording immediately.<br>
<br>hmmm.<br><br>so, my main concern was(and it still is i suppose) that i can do anything, but record, via external control.<br><br>Please, correct me if i&#39;m wrong! I&#39;d love to!!! :-)<br><br><div><span class="gmail_quote">2008/2/9, <a href="mailto:kkissinger@kevinkissinger.com">kkissinger@kevinkissinger.com</a> &lt;<a href="mailto:kkissinger@kevinkissinger.com">kkissinger@kevinkissinger.com</a>&gt;:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Quoting Panagiotis Melidis &lt;<a href="mailto:pmelidis@gmail.com">pmelidis@gmail.com</a>&gt;:<br>&gt;<br>&gt;<br>&gt; Am i right? or am i wrong? anyone ever tried something remotely closed to<br>&gt; this?<br>&gt;<br>&gt; all i want is trigger record start and stop with my feet. hmmm. i guess im<br>
&gt; asking too much<br>&gt;<br>You don&#39;t really have to use MIDI control.<br><br>You can plug external foot pedals into your RC50.&nbsp;&nbsp;Thus, you can keep<br>the RC50&#39;s control panel within reach and have foot pedals on the floor.<br>
<br>-- Kevin<br><br></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 17:20:36 2008
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Date: Sat, 09 Feb 2008 12:19:50 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: The AM/FM Show Playlist for February 9, 2008
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http://soundscapes.us/amfm/playlists/2008/080209.html

The AM/FM Show has two alternating hosts.  When I am at the helm, 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 on
WMUH Allentown, 91.7 FM and on the internet.  I also host Afterglow
every Thursday from 8:00 am to 9:30 am.

                Show #124                February 9, 2008.

On this program, I started a special on Sequences electronic music
magazine.  Each contemporary issue comes with a CD.  However, the early
isses came with a cassette.  Issues one through thirteen have been
remastered and are now available on CDR in plastic slip covers with
artwork and track details.  Details are at http://sequencesmagazine.com


Phase I/Space:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
VA [Ian Boddy]       Lorelei              Sequences No. 1 (EMMA)
VA [Synthetic]       Machine Music        Sequences No. 1 (EMMA)
VA [Michael Neil]    John 3:8             Sequences No. 1 (EMMA)
VA [Phrozenlight]    Left Behind the      New Ambient Worlds
                       Borders of Space     (AmbientLive)
                       and Time
Psicodreamics        A Heaven In Your     Ambienthernum (Witches On the
                       Eyes                 Radiowaves)
Ian Boddy            Welcome to the       The Final Question (DiN DDL)
                       Soundhouse


Phase II/Eclectic:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Mike Wall            Point Lobos          Passage (none)
Louis Landon         Sundance             Peace Revolution! (none)


Phase III/Progressive Rock:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
RPWL                 Watch Myself         The RPWL Experience (InsieOut)
RPWL                 Stranger             The RPWL Experience (InsieOut)
Alpha Wave Movement  Festive Ancestors    The Mystic and the Machine
                                            (HRR)
Beat Circus          Gyp the Blood        Dreamland (Cuneiform)
Beat Circus          The Ghost of Emma    Dreamland (Cuneiform)
                       Jean
Beat Circus          Hypnogoia            Dreamland (Cuneiform)
Beat Circus          Delerium Tremens     Dreamland (Cuneiform)
Amaranth's Plight    Coming of Age        Voice in the Light (InsideOut)


 * = excerpt
++ = Advanced CDR from artist
VA = Various Artists (compilation)

On the next show, I will continue the special on the sampler CDRs that
come with each issue of Sequences electronic music magazine.

Bill
======================================================================
Host of the AM/FM Show every other Saturday at 6:00 am EST (GMT-5:00).
Phase 1: Electronic, ambient, and space music to bring you back from
"Beyond the Barriers."
Phase 2: Mixed bag of acoustic, electric, pop, or New Age.
Phase 3: Progressive rock from past masters to contemporary releases.
Web Site - http://soundscapes.us/amfm
Listen to WMUH Allentown locally at 91.7 FM or on-line at
http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm
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
======================================================================
The progdj list is the central clearing house for radio playlists of
Progressive Rock programs. Tired of joining dozens of mailing lists to
post playlists or track airplay?  The progdj list solves that problem.

The progdj list is the place to go in order to see playlists and CD
and concert reviews by DJs of progressive rock-friendly radio
programs. Anyone interested in seeing playlists can join. There is NO
SPAM because I keep the spammers out before the members ever see any
hint of it.

The progdj list is for DJs (obviously!) and band members, record label
personnel, promoters, managers, and anyone else interested in seeing
what gets played on the air. Need to find who is playing prog on the
radio? Go to the progdj list.

To join, go to http://groups.yahoo.com/group/progdj and click on the
[Join This Group!] link.
======================================================================

From Loopers-Delight-request@loopers-delight.com  Sat Feb  9 21:41:00 2008
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Date: Sat, 9 Feb 2008 22:40:57 +0100
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Subject: Re: Recommend me a 1 U mixer please
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My Current mixer is the Behringer UB2442FX, and , mostely the reasaon i hat=
e
it is that its gone wrong, channels stop working, and it takes me a while t=
o
figure out if its me, my cables or the channel, then they start working
again, it hisses and hums like a MF is big, heavy, faders crackle, infact
the only thing I like about it is the way the reverb distorts, which is als=
o
an error.!!! Luckily I gig rarely, but when I do, I get there early and
franticly test, to check if its still working after being very carefully
moved.
Did you say subgroups... have to check THIS ONE!!!... Back soon..
Ahh.. not a 1U.. Yes I like the subgroups on the UB24442, I have my loopers
on the end of them, returning to channels, that way I punch in and pout
which looper I need. However...as long as there is ONE send, I can put ALL
my loopers on that send, and choose which looper by... well by which looper
I hit LOOP on, and which instrument loops, by using the send.

mark..

ps, my mac has just done a weird thing, I HAVE to have numlock selected and
capslock selected to type.. if I turn off capslock I get caps, if I turn of=
f
numlock, I get numlock!! those keys are working backwards!!! weird....
Restart,,,

On Feb 9, 2008 9:57 AM, Stephen Scott <stevoj@yahoo.com> wrote:

> Out of interest, which is your current Behringer mixer, and why do you
> dislike it so much ?  As well as my RX1602, I also have the Xenyx 1622
> which, apart from a couple of very minor niggles, has also proved it's
> worth.  I really appreciated the sub-groups (on this =A3120 mixer).
>
> Stephen Scott
> www.myspace.com/sylvianfisher
>
>
> *mark francombe <mark@markfrancombe.com>* wrote:
>
> Hi everyone,
>
> In an attempt to get rid of the towering racks, I am looking at racking
> all my looping gear into a silver case. To further this cause, can anyone
> recommend a 1 U mixer.
>
> I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster C3/C3X
>  8 Channel - and the 12 Input 1U mixer Behringer RX1602.
>
> Well of course the Behringer has most channels, most features and is most
> like what I need, with one main problem... its Behringer. My current mixe=
r
> is a Behringer, and it sucks. But then again they made the FCB 1010 no
> complaints there...
>
> Any others, and have anyone got any of the above, can say nice of nasty
> things about them. Someone was mentioning a Peavey a while back too...
>
>
>
> --
> www.markfrancombe.com
> www.looop.no
>
>
> ------------------------------
> Never miss a thing. Make Yahoo your homepage.<http://us.rd.yahoo.com/evt=
=3D51438/*http://www.yahoo.com/r/hs>
>



--=20
www.markfrancombe.com
www.looop.no

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My Current mixer is the Behringer UB2442FX, and , mostely the reasaon i hat=
e it is that its gone wrong, channels stop working, and it takes me a while=
 to figure out if its me, my cables or the channel, then they start working=
 again, it hisses and hums like a MF is big, heavy, faders crackle, infact =
the only thing I like about it is the way the reverb distorts, which is als=
o an error.!!! Luckily I gig rarely, but when I do, I get there early and f=
ranticly test, to check if its still working after being very carefully mov=
ed.<br>
Did you say subgroups... have to check THIS ONE!!!... Back soon..<br>Ahh.. =
not a 1U.. Yes I like the subgroups on the UB24442, I have my loopers on th=
e end of them, returning to channels, that way I punch in and pout which lo=
oper I need. However...as long as there is ONE send, I can put ALL my loope=
rs on that send, and choose which looper by... well by which looper I hit L=
OOP on, and which instrument loops, by using the send.<br>
<br>mark..<br><br>ps, my mac has just done a weird thing, I HAVE to have nu=
mlock selected and capslock selected to type.. if I turn off capslock I get=
 caps, if I turn off numlock, I get numlock!! those keys are working backwa=
rds!!! weird.... Restart,,,<br>
<br><div class=3D"gmail_quote">On Feb 9, 2008 9:57 AM, Stephen Scott &lt;<a=
 href=3D"mailto:stevoj@yahoo.com">stevoj@yahoo.com</a>&gt; wrote:<br><block=
quote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, 2=
04); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Out of interest, which is your current Behringer mixer, and why do you disl=
ike it so much ?&nbsp; As well as my RX1602, I also have the Xenyx 1622 whi=
ch, apart from a couple of very minor niggles, has also proved it&#39;s wor=
th.&nbsp; I really appreciated the sub-groups (on this =A3120 mixer).<div c=
lass=3D"Ih2E3d">
<br><br>Stephen Scott<br><a href=3D"http://www.myspace.com/sylvianfisher" t=
arget=3D"_blank">www.myspace.com/sylvianfisher</a><br><br><br></div><div cl=
ass=3D"Ih2E3d"><b><i>mark francombe &lt;<a href=3D"mailto:mark@markfrancomb=
e.com" target=3D"_blank">mark@markfrancombe.com</a>&gt;</i></b> wrote:</div=
>
<div><div></div><div class=3D"Wj3C7c"><blockquote style=3D"border-left: 2px=
 solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"> Hi everyone=
,<br><br>In an attempt to get rid of the towering racks, I am looking at ra=
cking all my looping gear into a silver case. To further this cause, can an=
yone recommend a 1 U mixer.<br>
<br>I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster <spa=
n><font face=3D"Arial">C3/C3X &nbsp;8 Channel - and the 12 Input 1U mixer <=
/font></span>Behringer RX1602.<br>  <br>Well of course the Behringer has mo=
st channels, most features and is most
 like what I need, with one main problem... its Behringer. My current mixer=
 is a Behringer, and it sucks. But then again they made the FCB 1010 no com=
plaints there...<br> <br>Any others, and have anyone got any of the above, =
can say nice of nasty things about them. Someone was mentioning a Peavey a =
while back too...<br>
<font color=3D"#888888"><br clear=3D"all"></font><br clear=3D"all"><br>-- <=
br><a href=3D"http://www.markfrancombe.com" target=3D"_blank">www.markfranc=
ombe.com</a><br><a href=3D"http://www.looop.no" target=3D"_blank">www.looop=
.no</a> </blockquote>
<br></div></div><div class=3D"WgoR0d"><p>=20

      </p><hr size=3D"1">Never miss a thing.  <a href=3D"http://us.rd.yahoo=
.com/evt=3D51438/*http://www.yahoo.com/r/hs" target=3D"_blank"> Make Yahoo =
your homepage.</a>

</div></blockquote></div><br><br clear=3D"all"><br>-- <br><a href=3D"http:/=
/www.markfrancombe.com">www.markfrancombe.com</a><br><a href=3D"http://www.=
looop.no">www.looop.no</a>

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oh and thanks for THOSE suggestions Ted, both look good actually... and the
Rocktron with 2aux... hmm, shame i have to FIND one!!!

m

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oh and thanks for THOSE suggestions Ted, both look good actually... and the Rocktron with 2aux... hmm, shame i have to FIND one!!!<br><br>m<br><br>

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Howdy y'all
Yet another lurker surfacing here...
I was wondering if any of you know of a kind of (loop based?) sustain for audio, either hardware or software.  I want to be able to use my voice to build tone clusters live, one note at a time.  I'm aware that TC-Helicon includes something called "harmony hold" in their VoiceWorksPlus rack but it seems to only sustain one note (or generated harmony) at a time while you sing or play over it.  Not quite what I'm after.  Any suggestions?
Thanks!
Lorne

       
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Howdy y'all<br>Yet another lurker surfacing here...<br>I was wondering if any of you know of a kind of (loop based?) sustain for audio, either hardware or software.&nbsp; I want to be able to use my voice to build tone clusters live, one note at a time.&nbsp; I'm aware that TC-Helicon includes something called "harmony hold" in their VoiceWorksPlus rack but it seems to only sustain one note (or generated harmony) at a time while you sing or play over it.&nbsp; Not quite what I'm after.&nbsp; Any suggestions?<br>Thanks!<br>Lorne<br><p>&#32;
      <hr size=1>Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile. <a href="http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ "> Try it now.</a>
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From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 05:38:46 2008
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I saw Rodrigo y Gabriela in Portland, Oregon a couple of nights ago at 
the Crystal Ballroom.  Wow...power of a locomotive!

The opening music was a solo looper from Idaho...he set up some hefty 
loopage, and then sang with a great powerful voice.  Does anyone know 
his name?  He used a Boss RC-20, I think (asked him briefly 
afterwards...crowded...sold out!).  He got around on his guitar quite 
well, amplified acoustic...sound system made my chest cavity thump 
sympathetically! 

Thanks, David

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 05:54:01 2008
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... i think any looper with overdub capability will do the trick...
the cheapest being boss rc2... also there are some free sw loopers for
 windows or osx based computers that also could do such thing: mobius
(pc), sooperlooper (osx).

raul.

2008/2/10, Lorne Vasquez <stuccoblack@yahoo.com>:
> Howdy y'all
> Yet another lurker surfacing here...
> I was wondering if any of you know of a kind of (loop based?) sustain for
> audio, either hardware or software.  I want to be able to use my voice to
> build tone clusters live, one note at a time.  I'm aware that TC-Helicon
> includes something called "harmony hold" in their VoiceWorksPlus rack but it
> seems to only sustain one note (or generated harmony) at a time while you
> sing or play over it.  Not quite what I'm after.  Any suggestions?
> Thanks!
> Lorne
>
>
> ---------------------------------
> Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it
> now.


-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra
TPO at Jamendo: http://www.jamendo.com

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 07:12:59 2008
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Date: Sat, 9 Feb 2008 23:06:25 -0800
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Really great concert, thanks for the link! If anyone is interested,
you can download an mp3 here:
http://rapidshare.com/files/90586449/BBC_Jazz_on_Three.mp3.html
Given the nature of the improvisations, I'd love it if they made more
of their performances available. I think I like the BBC recording more
than the ECM release.
-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

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If you use a looper and you sing each note for the duration of the loop =
it will sound like it is constantly sounding.  Then one by one you can =
add voices, "stacking" them over the original note.

toby
  ----- Original Message -----=20
  From: Lorne Vasquez=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Saturday, February 09, 2008 9:07 PM
  Subject: a bit OT: audio sustain?


  Howdy y'all
  Yet another lurker surfacing here...
  I was wondering if any of you know of a kind of (loop based?) sustain =
for audio, either hardware or software.  I want to be able to use my =
voice to build tone clusters live, one note at a time.  I'm aware that =
TC-Helicon includes something called "harmony hold" in their =
VoiceWorksPlus rack but it seems to only sustain one note (or generated =
harmony) at a time while you sing or play over it.  Not quite what I'm =
after.  Any suggestions?
  Thanks!
  Lorne



-------------------------------------------------------------------------=
-----
  Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try =
it now.
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<BODY bgColor=3D#fffbf0>
<DIV><FONT face=3DArial size=3D2>If you use a looper and you sing each =
note for the=20
duration of the loop it will sound like it is constantly sounding.&nbsp; =
Then=20
one by one you can add voices, "stacking" them over the original=20
note.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>toby</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dstuccoblack@yahoo.com =
href=3D"mailto:stuccoblack@yahoo.com">Lorne=20
  Vasquez</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Saturday, February 09, =
2008 9:07=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> a bit OT: audio =
sustain?</DIV>
  <DIV><BR></DIV>Howdy y'all<BR>Yet another lurker surfacing =
here...<BR>I was=20
  wondering if any of you know of a kind of (loop based?) sustain for =
audio,=20
  either hardware or software.&nbsp; I want to be able to use my voice =
to build=20
  tone clusters live, one note at a time.&nbsp; I'm aware that =
TC-Helicon=20
  includes something called "harmony hold" in their VoiceWorksPlus rack =
but it=20
  seems to only sustain one note (or generated harmony) at a time while =
you sing=20
  or play over it.&nbsp; Not quite what I'm after.&nbsp; Any=20
  suggestions?<BR>Thanks!<BR>Lorne<BR>
  <P>
  <HR SIZE=3D1>
  Be a better friend, newshound, and know-it-all with Yahoo! Mobile. <A=20
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=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ">Try=20
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Date: Sun, 10 Feb 2008 11:41:46 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Torn gig on uk radio, streaming, and download later
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On Feb 10, 2008 8:06 AM, Art Simon <simart@gmail.com> wrote:
> Really great concert, thanks for the link! If anyone is interested,
> you can download an mp3 here:
> http://rapidshare.com/files/90586449/BBC_Jazz_on_Three.mp3.html
> Given the nature of the improvisations, I'd love it if they made more
> of their performances available. I think I like the BBC recording more
> than the ECM release.


Thank you, Art! I'm happy for this because yesterday when I was
listening the REalAudio Player "lost contact with the server". And now
I have no time for more listening until a train ride on monday and
tuesday, so I'm really happy being able to bring it on the ipod. :-)

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 12:50:00 2008
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Subject: Re: a bit OT: audio sustain?
Date: Sun, 10 Feb 2008 12:50:05 -0000
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Hi,

Yes I do this, have a programme on my Zoom A2.1u set up as 5seconds =
delay with 100% feedback, it works for drones and the layered chords =
that you describe, I tend to then feed this into my looper if it's for a =
looped piece. I guess that you don't need to dedicate a "looper" to it =
if this is all you want to do, a DDL with 100% feedback does the trick =
too.

Ian.

  ----- Original Message -----=20
  From: Toby G=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Sunday, February 10, 2008 7:50 AM
  Subject: Re: a bit OT: audio sustain?


  If you use a looper and you sing each note for the duration of the =
loop it will sound like it is constantly sounding.  Then one by one you =
can add voices, "stacking" them over the original note.

  toby
    ----- Original Message -----=20
    From: Lorne Vasquez=20
    To: Loopers-Delight@loopers-delight.com=20
    Sent: Saturday, February 09, 2008 9:07 PM
    Subject: a bit OT: audio sustain?


    Howdy y'all
    Yet another lurker surfacing here...
    I was wondering if any of you know of a kind of (loop based?) =
sustain for audio, either hardware or software.  I want to be able to =
use my voice to build tone clusters live, one note at a time.  I'm aware =
that TC-Helicon includes something called "harmony hold" in their =
VoiceWorksPlus rack but it seems to only sustain one note (or generated =
harmony) at a time while you sing or play over it.  Not quite what I'm =
after.  Any suggestions?
    Thanks!
    Lorne



-------------------------------------------------------------------------=
---
    Be a better friend, newshound, and know-it-all with Yahoo! Mobile. =
Try it now.
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<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3243" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#fffbf0>
<DIV><FONT size=3D2>Hi,</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Yes I do this, have a programme on my Zoom A2.1u set =
up as=20
5seconds delay with 100% feedback, it works for drones and the layered =
chords=20
that you describe, I tend to then feed this into my looper if it's for a =
looped=20
piece. I guess that you don't need to dedicate a "looper" to it if this =
is all=20
you want to do, a DDL with 100% feedback does the trick =
too.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Ian.</FONT></DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dcarpet8@mac.com href=3D"mailto:carpet8@mac.com">Toby G</A> =
</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Sunday, February 10, 2008 =
7:50=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: a bit OT: audio=20
  sustain?</DIV>
  <DIV><BR></DIV>
  <DIV><FONT face=3DArial size=3D2>If you use a looper and you sing each =
note for=20
  the duration of the loop it will sound like it is constantly =
sounding.&nbsp;=20
  Then one by one you can add voices, "stacking" them over the original=20
  note.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>toby</FONT></DIV>
  <BLOCKQUOTE=20
  style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
    <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
    <DIV=20
    style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
    <A title=3Dstuccoblack@yahoo.com =
href=3D"mailto:stuccoblack@yahoo.com">Lorne=20
    Vasquez</A> </DIV>
    <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
    title=3DLoopers-Delight@loopers-delight.com=20
    =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
    </DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Saturday, February 09, =
2008 9:07=20
    PM</DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> a bit OT: audio =
sustain?</DIV>
    <DIV><BR></DIV>Howdy y'all<BR>Yet another lurker surfacing =
here...<BR>I was=20
    wondering if any of you know of a kind of (loop based?) sustain for =
audio,=20
    either hardware or software.&nbsp; I want to be able to use my voice =
to=20
    build tone clusters live, one note at a time.&nbsp; I'm aware that=20
    TC-Helicon includes something called "harmony hold" in their =
VoiceWorksPlus=20
    rack but it seems to only sustain one note (or generated harmony) at =
a time=20
    while you sing or play over it.&nbsp; Not quite what I'm =
after.&nbsp; Any=20
    suggestions?<BR>Thanks!<BR>Lorne<BR>
    <P>
    <HR SIZE=3D1>
    Be a better friend, newshound, and know-it-all with Yahoo! Mobile. =
<A=20
    =
href=3D"http://us.rd.yahoo.com/evt=3D51733/*http://mobile.yahoo.com/;_ylt=
=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ">Try=20
    it now.</A></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 13:29:41 2008
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Date: Sun, 10 Feb 2008 14:29:40 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: a bit OT: audio sustain?
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right, the advantage of getting a looper with overdub and no delay/feedback
it would be that you could still singing over without adding new material to
the
formerly clustered tones.

although you can achieve the above with a regular delay & a mixer/aux send.

also consider the stop function/button on most loopers,
so then you can quickly replace the cluster/chord.
it uses to be more tedious & risky to do this
with a delay with feedback at 100 %.

raul.

2008/2/10, Ian Popperwell <popperwell@iname.com>:
>
>  Hi,
>
> Yes I do this, have a programme on my Zoom A2.1u set up as 5seconds delay
> with 100% feedback, it works for drones and the layered chords that you
> describe, I tend to then feed this into my looper if it's for a looped
> piece. I guess that you don't need to dedicate a "looper" to it if this is
> all you want to do, a DDL with 100% feedback does the trick too.
>
> Ian.
>
>
> ----- Original Message -----
> *From:* Toby G <carpet8@mac.com>
> *To:* Loopers-Delight@loopers-delight.com
> *Sent:* Sunday, February 10, 2008 7:50 AM
> *Subject:* Re: a bit OT: audio sustain?
>
> If you use a looper and you sing each note for the duration of the loop it
> will sound like it is constantly sounding.  Then one by one you can add
> voices, "stacking" them over the original note.
>
> toby
>
> ----- Original Message -----
> *From:* Lorne Vasquez <stuccoblack@yahoo.com>
> *To:* Loopers-Delight@loopers-delight.com
> *Sent:* Saturday, February 09, 2008 9:07 PM
> *Subject:* a bit OT: audio sustain?
>
> Howdy y'all
> Yet another lurker surfacing here...
> I was wondering if any of you know of a kind of (loop based?) sustain for
> audio, either hardware or software.  I want to be able to use my voice to
> build tone clusters live, one note at a time.  I'm aware that TC-Helicon
> includes something called "harmony hold" in their VoiceWorksPlus rack but it
> seems to only sustain one note (or generated harmony) at a time while you
> sing or play over it.  Not quite what I'm after.  Any suggestions?
> Thanks!
> Lorne
>
> ------------------------------
> Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it
> now.<http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ>
>
>


-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra
TPO at Jamendo: http://www.jamendo.com

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right, the advantage of getting a looper with overdub and no delay/feedback<br>it would be that you could still singing over without adding new material to the <br>formerly clustered tones. <br><br>although you can achieve the above with a regular delay &amp; a mixer/aux send.<br>
<br>also consider the stop function/button on most loopers,<br>so then you can quickly replace the cluster/chord.<br>it uses to be more tedious &amp; risky to do this<br>with a delay with feedback at 100 %.<br><br>raul.<br>
<br><div><span class="gmail_quote">2008/2/10, Ian Popperwell &lt;<a href="mailto:popperwell@iname.com">popperwell@iname.com</a>&gt;:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">






<div bgcolor="#fffbf0">
<div><font size="2">Hi,</font></div>
<div><font size="2"></font>&nbsp;</div>
<div><font size="2">Yes I do this, have a programme on my Zoom A2.1u set up as 
5seconds delay with 100% feedback, it works for drones and the layered chords 
that you describe, I tend to then feed this into my looper if it&#39;s for a looped 
piece. I guess that you don&#39;t need to dedicate a &quot;looper&quot; to it if this is all 
you want to do, a DDL with 100% feedback does the trick too.</font></div><span class="sg">
<div><font size="2"></font>&nbsp;</div>
<div><font size="2">Ian.</font></div>
<div>&nbsp;</div>
</span><blockquote dir="ltr" style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;"><span class="q">
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;">----- Original Message ----- </div>
  <div style="background: rgb(228, 228, 228) none repeat scroll 0% 50%; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;">
<b>From:</b> 
  <a title="carpet8@mac.com" href="mailto:carpet8@mac.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Toby G</a> </div>
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>To:</b> <a title="Loopers-Delight@loopers-delight.com" href="mailto:Loopers-Delight@loopers-delight.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Loopers-Delight@loopers-delight.com</a> 
  </div></span><div><span class="e" id="q_118036551f2c1caa_4">
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>Sent:</b> Sunday, February 10, 2008 7:50 
  AM</div>
  <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>Subject:</b> Re: a bit OT: audio 
  sustain?</div>
  <div><br></div>
  <div><font face="Arial" size="2">If you use a looper and you sing each note for 
  the duration of the loop it will sound like it is constantly sounding.&nbsp; 
  Then one by one you can add voices, &quot;stacking&quot; them over the original 
  note.</font></div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <div><font face="Arial" size="2">toby</font></div>
  <blockquote style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
    <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;">----- Original Message ----- </div>
    <div style="background: rgb(228, 228, 228) none repeat scroll 0% 50%; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;">
<b>From:</b> 
    <a title="stuccoblack@yahoo.com" href="mailto:stuccoblack@yahoo.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Lorne 
    Vasquez</a> </div>
    <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>To:</b> <a title="Loopers-Delight@loopers-delight.com" href="mailto:Loopers-Delight@loopers-delight.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Loopers-Delight@loopers-delight.com</a> 
    </div>
    <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>Sent:</b> Saturday, February 09, 2008 9:07 
    PM</div>
    <div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><b>Subject:</b> a bit OT: audio sustain?</div>

    <div><br></div>Howdy y&#39;all<br>Yet another lurker surfacing here...<br>I was 
    wondering if any of you know of a kind of (loop based?) sustain for audio, 
    either hardware or software.&nbsp; I want to be able to use my voice to 
    build tone clusters live, one note at a time.&nbsp; I&#39;m aware that 
    TC-Helicon includes something called &quot;harmony hold&quot; in their VoiceWorksPlus 
    rack but it seems to only sustain one note (or generated harmony) at a time 
    while you sing or play over it.&nbsp; Not quite what I&#39;m after.&nbsp; Any 
    suggestions?<br>Thanks!<br>Lorne<br>
    <p>
    </p><hr size="1">
    Be a better friend, newshound, and know-it-all with Yahoo! Mobile. <a href="http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Try 
    it now.</a><p></p></blockquote></span></div></blockquote></div>
</blockquote></div><br><br clear="all"><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo">http://www.telefonica.net/web2/tpo</a><br>Chain Tape Collective: <a href="http://www.ct-collective.com">http://www.ct-collective.com</a><br>
TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra">http://www.myspace.com/theplayingorchestra</a><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a>

------=_Part_2029_31243087.1202650180131--

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 16:46:36 2008
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Subject: RE: Torn gig on uk radio, streaming, and download later
Date: Sun, 10 Feb 2008 08:46:39 -0800
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Hi,  do you have  to sign up for fee-based service to download the file?

Qua


-----Original Message-----
From: Art Simon [mailto:simart@gmail.com] 
Sent: Saturday, February 09, 2008 11:06 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Torn gig on uk radio, streaming, and download later

Really great concert, thanks for the link! If anyone is interested,
you can download an mp3 here:
http://rapidshare.com/files/90586449/BBC_Jazz_on_Three.mp3.html
Given the nature of the improvisations, I'd love it if they made more
of their performances available. I think I like the BBC recording more
than the ECM release.
-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 16:56:13 2008
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no, I just downloaded for free.
just click on the 'free' box at the bottom.  it's a bit of a pain to wait a
moment for the countdown, but only slightly.

t.



On 2/10/08, Qua Veda <qua@oregon.com> wrote:
>
> Hi,  do you have  to sign up for fee-based service to download the file?
>
> Qua
>
>

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no, I just downloaded for free.&nbsp;<div><br class="webkit-block-placeholder"></div><div>just click on the &#39;free&#39; box at the bottom. &nbsp;it&#39;s a bit of a pain to wait a moment for the countdown, but only slightly.</div>
<div><br class="webkit-block-placeholder"></div><div>t.</div><div><br class="webkit-block-placeholder"></div><div><br><br><div><span class="gmail_quote">On 2/10/08, <b class="gmail_sendername">Qua Veda</b> &lt;<a href="mailto:qua@oregon.com">qua@oregon.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="margin:0;margin-left:0.8ex;border-left:1px #ccc solid;padding-left:1ex">
Hi,&nbsp;&nbsp;do you have&nbsp;&nbsp;to sign up for fee-based service to download the file?<br><br>Qua<br><br></blockquote></div><br>&nbsp;</div>

------=_Part_32762_5753150.1202662174449--

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 16:59:08 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Torn gig on uk radio, streaming, and download later
Date: Sun, 10 Feb 2008 08:59:01 -0800
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Qua,

You don't HAVE to sign up.

There is a free way to do it right there on the page.

You just have to read the fine print a little . . . it'll tell you how.

The "catch" is only that they make you wait for a minute or two in a 
window (which fortunately has a numeric "countdown") where they give 
you multiple opportunities to pay and make your wait much shorter - 
sort of like some shareware programs that make you pause for a minute 
or two before they let you go ahead and use them for free.

Try again.

I just downloaded mine.

Cheers,

Ted

On Feb 10, 2008, at 8:46 AM, Qua Veda wrote:

> Hi,  do you have  to sign up for fee-based service to download the 
> file?
>
> Qua

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 17:07:16 2008
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Subject: RE: Torn gig on uk radio, streaming, and download later
Date: Sun, 10 Feb 2008 09:07:17 -0800
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Ah!   I'm the same way with manuals - terrible habit of not reading them,
and trying find the instant gratification ;-)

Qua


-----Original Message-----
From: tEd R KiLLiAn [mailto:tedkillian@charter.net] 
Sent: Sunday, February 10, 2008 8:59 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Torn gig on uk radio, streaming, and download later

Qua,

You don't HAVE to sign up.

There is a free way to do it right there on the page.

You just have to read the fine print a little . . . it'll tell you how.

The "catch" is only that they make you wait for a minute or two in a 
window (which fortunately has a numeric "countdown") where they give 
you multiple opportunities to pay and make your wait much shorter - 
sort of like some shareware programs that make you pause for a minute 
or two before they let you go ahead and use them for free.

Try again.

I just downloaded mine.

Cheers,

Ted

On Feb 10, 2008, at 8:46 AM, Qua Veda wrote:

> Hi,  do you have  to sign up for fee-based service to download the 
> file?
>
> Qua

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 17:27:08 2008
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--_3467971b-43c6-4ba2-8611-cca5e24dc19b_
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I'm looking for the simplest way to have a hardware looper sync up with pre=
-recorded audio on a laptop or other device.

I want to be able to perform live loops, and add in pre-recorded sounds or =
even entire bedtracks when i need to, and have it all line up nicely.

A friend suggested Imogen Heap's setup, linking an Electrix Repeater with A=
bleton's Live - can someone offer some expertise on how these two would be =
synced together?

I have been searching for a solution for almost a year, so if you have some=
 info PLEASE share - I would appreciate it more than you might think.

Many thanks,
Jesse
:  )



_________________________________________________________________


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{
FONT-SIZE: 10pt;
FONT-FAMILY:Tahoma
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</head>
<body class=3D'hmmessage'>
<br>I'm looking for the simplest way to have a hardware looper sync up with=
 pre-recorded audio on a laptop or other device.<br><br>I want to be able t=
o perform live loops, and add in pre-recorded sounds or even entire bedtrac=
ks when i need to, and have it all line up nicely.<br><br>A friend suggeste=
d Imogen Heap's setup, linking an Electrix Repeater with Ableton's Live - c=
an someone offer some expertise on how these two would be synced together?<=
br><br>I have been searching for a solution for almost a year, so if you ha=
ve some info PLEASE share - I would appreciate it more than you might think=
.<br><br>Many thanks,<br>Jesse<br>:&nbsp; )<br><br><br><br /><hr /> <a href=
=3D'' target=3D'_new'></a></body>
</html>=

--_3467971b-43c6-4ba2-8611-cca5e24dc19b_--

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 17:50:56 2008
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Has anyone found a way to sync two of the re-issued Electo Harmonix 16 Second delays together?
I have two and would love to use them in stereo.
These are MK2 so they will run in free mode.
I tried paralleling the foot controller with no luck.
Seems there must be a way.
Thanks Bill 

________________________________________________________________________
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<font face="Arial, Helvetica, sans-serif">Has anyone found a way to sync two of the re-issued Electo Harmonix 16 Second delays together?<br>
I have two and would love to use them in stereo.<br>
These are MK2 so they will run in free mode.<br>
I tried paralleling the foot controller with no luck.<br>
Seems there must be a way.<br>
Thanks Bill <br>
</font><div class="AOLPromoFooter">
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From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 18:16:37 2008
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Date: Sun, 10 Feb 2008 10:16:36 -0800 (PST)
From: rabbirabbifive <rabbirabbi5@yahoo.com>
Subject: 2880 midi control
To: Loopers-Delight@loopers-delight.com
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My question sank into the swamp, so here it is again.  I hope
someone can answer this- can the 2880 be controlled by midi controllers
and/or program changes?  The latest video from EHX says it can, but
they 
won't confirm or deny it.


      ____________________________________________________________________________________
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Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 18:48:59 2008
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: AW: looper + laptop interaction
Date: Sun, 10 Feb 2008 19:49:40 +0100
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> I'm looking for the simplest way to have a hardware looper sync up with
pre-recorded audio on a laptop or other device.

You may think about rephrasing your question and look for the simplest way
to sync a software looper with prerecorded audio on a laptop, if you already
are positive with the need for a laptop.

If you prefer to stay hardware entirely, something like a Roland MC909 or
Akai MPC may be preferable (and then, depending on your feature needs,
either take a Repeater (if you need the pitch bending) or a Looperlative).

If you want to use Ableton Live and use it on an XP machine, why not use
Mobius as a plugin in Live. A lot of loopers (including me) favor that
solution.

Best,

	Rainer

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 19:06:21 2008
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From: "Jeff Duke" <echohead@embarqmail.com>
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Subject: Re: 2880 midi control
Date: Sun, 10 Feb 2008 14:06:39 -0500
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I have not used a midi controller except for drum machine sync but the notes 
in the upgrade zip
say this:
MIDI CONTROL

Independently of the MIDI SYNC state, the 2880 will at all times respond to

certain Control Change messages. These messages have the same effect

as pushing 2880's buttons and moving its sliders and rotary controls

(except input sensitivity and headphone level). The MIDI channel

on which such messages are received can be altered from 2880's panel

and saved in internal memory.

SETTING THE MIDI CHANNEL

Press MIXDOWN and hold it for more than 2 seconds.

This will cause all of the LEDs except the four track LEDs to blink.

The state of the track LEDs indicates the channel to which 2880 is

currently set. It uses the following code ("." = LED off):

Track LED 1 2 3 4 = MIDI channel

. . . . 1

. . . ON 2

. . ON . 3

. . ON ON 4

. ON . . 5

. ON . ON 6

. ON ON . 7

. ON ON ON 8

ON . . . 9

ON . . ON 10

ON . ON . 11

ON . ON ON 12

ON ON . . 13

ON ON . ON 14

ON ON ON . 15

ON ON ON ON 16

If one holds MIXDOWN, the track LEDs will advance through the above

sequence to select a different channel. When one releases MIXDOWN

the channel selected will be saved after power cycling.

MIDI CONTROL CHANGE MESSAGES

At power up the 2880 will always be in OMNI=OFF mode. This means that it

will only obey Control Change messages on the selected channel. The 2880

can however be switched to OMNI=ON mode by receipt of the appropriate

command on its selected channel. In OMNI=ON mode 2880 will respond to

CONTROL CHANGE MESSAGES (except OMNI=OFF) on any channel.

Each CONTROL CHANGE message carries two information bytes- the

Controller Change Number (CC#) and the data value (DV). The following table

shows which of 2880's functions the information bytes control:

CC# DV 2880 Parameter

9 0 to 127 Clix level

20 0 to 127 Live signals monitor level

21 0 to 127 Track 1 play/feedback level

22 0 to 127 Track 2 play/feedback level

23 0 to 127 Track 3 play/feedback level

24 0 to 127 Track 4 play/feedback level

25 0 to 127 Mix track play/feedback level

26 0 to 127 Tempo slider

27 0 to 127 Live signals pan

28 0 to 127 Track 1 pan

29 0 to 127 Track 2 pan

30 0 to 127 Track 3 pan

31 0 to 127 Track 4 pan

102 127 Push REC button

103 127 Push NEW button

104 127 Push PLAY button

105 127 Push TRACK SELECT button

106 127 Push EXT SYNC button

107 127 Push MIXDOWN button

108 127 Push STEREO button

109 127 Push REVERSE button

110 127 Push OCTAVE button

111 127 Push PUNCH-IN button

112 127 Push QUANTIZE button

124 0 Change to OMNI=OFF

125 0 Change to OMNI=ON

There must be at least 300mS between each button push message.

MIDI PROGRAM CHANGE MESSAGES

The 2880 also interprets certain Program change messages as button pushes

and mute/unmute commands. A program change message has one information

byte, P0 (0 to 127), but this is usually presented to the user as being

1 to 128, shown below as P1.

P0 P1 2880 Parameter

80 81 Push PLAY button

81 82 Mute/unmute track 1's play **

82 83 Mute/unmute track 2's play **

83 84 Mute/unmute track 3's play **

84 85 Mute/unmute track 4's play **

85 86 Push REC button

86 87 Select track 1 for record (or 1 and 2 if stereo)

87 88 Select track 2 for record (or 1 and 2 if stereo)

88 89 Select track 3 for record (or 3 and 4 if stereo)

89 90 Select track 4 for record (or 3 and 4 if stereo)

90 91 Push NEW button

91 92 Push QUANTIZE button

92 93 Push REC button

93 94 Push PLAY button

94 95 Push REVERSE button

95 96 Push TRACK SELECT button

96 97 Push STEREO button

97 98 Push PUNCH-IN button

98 99 Push EXT SYNC button

99 100 Push OCTAVE button

100 101 Push PLAY button

101 102 Mute/unmute track 1's play **

102 103 Mute/unmute track 2's play **

103 104 Mute/unmute track 3's play **

104 105 Mute/unmute track 4's play **

105 106 Push REC button

106 107 Push MIXDOWN button

107 108 Mute/unmute mix track's play **

108 109 Mute/unmute Dry Out **

109 110 Mute/unmute clix level **

110 111 Mute/unmute all play tracks ***

** The single channel mute/unmute action works as follows:

If the channel's level is greater than zero when the command is

received then the channel will be muted. If the channel's level

is zero when the command is received then the level will be set

either to that of 2880's panel fader or to that of the last CC

message (20..24), depending on which was most recently effective.

*** When a mute/unmute all-play-tracks command is received all play

tracks will be muted if ANY of them is greater than zero. If

ALL of them are zero then each will be set to fader or CC level.

MIDI OUT (MIDI THRU)

2880 generally relays all received MIDI messages at its MIDI out

connector. But in Internal sync mode it does not relay the

sequencer commands: STOP START CONT CLOCK

................

hope this helps, I love the machine by the way, its really fun!

Jeff

----- Original Message ----- 
From: "rabbirabbifive" <rabbirabbi5@yahoo.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Sunday, February 10, 2008 1:16 PM
Subject: 2880 midi control


> My question sank into the swamp, so here it is again.  I hope
> someone can answer this- can the 2880 be controlled by midi controllers
> and/or program changes?  The latest video from EHX says it can, but
> they
> won't confirm or deny it.
>
>
> 
> ____________________________________________________________________________________
> Looking for last minute shopping deals?
> Find them fast with Yahoo! Search. 
> http://tools.search.yahoo.com/newsearch/category.php?category=shopping
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.5.516 / Virus Database: 269.20.0/1268 - Release Date: 2/9/2008 
> 11:54 AM
>
> 

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 19:17:59 2008
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Subject: RE: AW: looper + laptop interaction
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I forgot to mention that I'm on a mac. =20

I'd actually prefer NOT to use a laptop and just keep it hardware based (lo=
oper + something that holds audio that can be organized / triggered).

I'll have a look at the Roland and Akai products you mentioned and see if I=
 can figure out how to sync one to a repeater (or what i've got right now -=
 a boss RC-50)

Thanks - any more info is welcome.
:  )


> From: rs@moinlabs.de
> To: Loopers-Delight@loopers-delight.com
> Subject: AW: looper + laptop interaction
> Date: Sun, 10 Feb 2008 19:49:40 +0100
>=20
> > I'm looking for the simplest way to have a hardware looper sync up with
> pre-recorded audio on a laptop or other device.
>=20
> You may think about rephrasing your question and look for the simplest wa=
y
> to sync a software looper with prerecorded audio on a laptop, if you alre=
ady
> are positive with the need for a laptop.
>=20
> If you prefer to stay hardware entirely, something like a Roland MC909 or
> Akai MPC may be preferable (and then, depending on your feature needs,
> either take a Repeater (if you need the pitch bending) or a Looperlative)=
.
>=20
> If you want to use Ableton Live and use it on an XP machine, why not use
> Mobius as a plugin in Live. A lot of loopers (including me) favor that
> solution.
>=20
> Best,
>=20
> 	Rainer
>=20

_________________________________________________________________


--_36312ad7-f105-45fe-8b8d-387da3f445d0_
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<html>
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<body class=3D'hmmessage'>
<br><br>I forgot to mention that I'm on a mac.&nbsp; <br><br>I'd actually p=
refer NOT to use a laptop and just keep it hardware based (looper + somethi=
ng that holds audio that can be organized / triggered).<br><br>I'll have a =
look at the Roland and Akai products you mentioned and see if I can figure =
out how to sync one to a repeater (or what i've got right now - a boss RC-5=
0)<br><br>Thanks - any more info is welcome.<br>:&nbsp; )<br><br><br>&gt; F=
rom: rs@moinlabs.de<br>&gt; To: Loopers-Delight@loopers-delight.com<br>&gt;=
 Subject: AW: looper + laptop interaction<br>&gt; Date: Sun, 10 Feb 2008 19=
:49:40 +0100<br>&gt; <br>&gt; &gt; I'm looking for the simplest way to have=
 a hardware looper sync up with<br>&gt; pre-recorded audio on a laptop or o=
ther device.<br>&gt; <br>&gt; You may think about rephrasing your question =
and look for the simplest way<br>&gt; to sync a software looper with prerec=
orded audio on a laptop, if you already<br>&gt; are positive with the need =
for a laptop.<br>&gt; <br>&gt; If you prefer to stay hardware entirely, som=
ething like a Roland MC909 or<br>&gt; Akai MPC may be preferable (and then,=
 depending on your feature needs,<br>&gt; either take a Repeater (if you ne=
ed the pitch bending) or a Looperlative).<br>&gt; <br>&gt; If you want to u=
se Ableton Live and use it on an XP machine, why not use<br>&gt; Mobius as =
a plugin in Live. A lot of loopers (including me) favor that<br>&gt; soluti=
on.<br>&gt; <br>&gt; Best,<br>&gt; <br>&gt; 	Rainer<br>&gt; <br><br /><hr /=
> <a href=3D'' target=3D'_new'></a></body>
</html>=

--_36312ad7-f105-45fe-8b8d-387da3f445d0_--

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 19:40:18 2008
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Subject: Re: looper + laptop interaction
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> If you want to use Ableton Live and use it on an XP machine, why not use
> Mobius as a plugin in Live. A lot of loopers (including me) favor that
> solution.

As the vendor of a hardware looper, I would have to agree with this 
statement.  If you have the computer on stage already, why not use it?  I 
certainly can sell you a hardware looper that will accept MIDI sync, but the 
most economical solution is to use the hardware that you already have on 
stage which is your computer. 

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 20:42:10 2008
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rabbirabbifive wrote:
> My question sank into the swamp, so here it is again.  I hope
> someone can answer this- can the 2880 be controlled by midi controllers
> and/or program changes?  The latest video from EHX says it can, but
> they 
> won't confirm or deny it.
> 
> 
>       ____________________________________________________________________________________
> Looking for last minute shopping deals?  
> Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping
> 
> 
> .
> 

Try search the archives from the loopers-delight main site; 2880 MIDI 
has been discussed in here before.
AFAIR, the last firmware update greatly expanded it's MIDI capabilities.
On http://loopingmusic.proboards99.com/index.cgi?board=eh, I summed a 
few things from the discussions in here, but see no more has been added.

I was considering on the 2880 myself, but had to pull the plug on such 
due to investment considerations (quite elegant, no.. ;) ), so I haven't 
gotten any further, and thus won't have more to offer.

-- 
rgds,
van Sinn

From Loopers-Delight-request@loopers-delight.com  Sun Feb 10 21:31:42 2008
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From: "Per Boysen" <perboysen@gmail.com>
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On Feb 10, 2008 6:22 PM, Jesse Thom <jessethevessel@hotmail.com> wrote:
>
>
> I'm looking for the simplest way to have a hardware looper sync up with
> pre-recorded audio on a laptop or other device.
>
> I want to be able to perform live loops, and add in pre-recorded sounds or
> even entire bedtracks when i need to, and have it all line up nicely.
>
> A friend suggested Imogen Heap's setup, linking an Electrix Repeater with
> Ableton's Live - can someone offer some expertise on how these two would be
> synced together?
>
> I have been searching for a solution for almost a year, so if you have some
> info PLEASE share - I would appreciate it more than you might think.


Hi Jesse,

Having used both the Repeater and Ableton Live quite a lot I would say
that your friends advice is good. To refine the advice further I would
like to add that it would be best to use Ableton Live for the
prerecorded materials and do the live loop recordings on the Repeater.
My reason for this advice is that hardware, as the Repeater, doesn't
crash (as Ableton might) when running in sync slave mode. Also, the
plug-in latency compensation in Live doesn't work in Slave Sync mode.

But please understand that this advice is only valuable if you know
what the Repeater is and are comfortable with looping that way.

I'd like to chime in with Rainer that if you are comfortable with
playing to a predefined tempo (as you probably are since you talk
about "prerecorded material") and also comfortable with setting up and
using a computer, then Ableton Live hosting Mobius (Windows XP) would
be good system for you.

If you would rather use dedicated hardware, take a look at the
Looperlative. Especially think about how big your prerecorded files
are and make sure they fit into the memory of the looper.

Finally, download and read the manuals for the loopers and imagine in
detail how you will have to proceed in order to make the processes
happen on the different machines. Just to make sure you will be
comfortable with using it. The Looperlative has a dedicated forum at
the web site, Mobius has its own list, Ableton Live has a helpful
forum as well. But you need to post specific questions to get more
useful answers than this one ;-))

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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Date: Sun, 10 Feb 2008 14:22:21 -0800
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Subject: Re: Torn gig on uk radio, streaming, and download later
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Sorry the download link is a little fussy, but it seems about as good
as you get for free : )

I discovered this after stumbling on http://orgyinrhythm.blogspot.com/
where radpidshare is used to share rips of long out of print vinyl.
Great site BTW, check out Masabumi Kikuchi and Elvin Jones' "Hollow
out" if you get a chance.

On Feb 10, 2008 9:07 AM, Qua Veda <qua@oregon.com> wrote:
> Ah!   I'm the same way with manuals - terrible habit of not reading them,
> and trying find the instant gratification ;-)
>
> Qua
-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

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Thanks for the detals on delay time change events . . . I think I'm gonna
have to save up for one of these!  -m

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Thanks for the detals on delay time change events . . . I think I&#39;m gonna have to save up for one of these!&nbsp; -m<br>

------=_Part_30599_22119963.1202698791738--

From Loopers-Delight-request@loopers-delight.com  Mon Feb 11 12:34:06 2008
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Most features can be controlled on the RC-50 except record start/stop. I =
use mine with a Roland FC-300 (similar to FCB1010). I even got the amp ou=
tput's of the FC-300 to work on the controller input's of the RC-50. That=
 gives you another 2 on/of controlers.

Sjaak =0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0A=
http://www.scarlet.be/

From member@ebay.it  Mon Feb 11 13:47:20 2008
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<TD><B><FONT size=2>Gentile utente,</FONT></B></TD></TR>
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<TD width="97%"><FONT face="Arial, Verdana" size=2>Ciao! volevo sapere se hai un negozio,anche io sono di Roma,magari vengo a trovarti<BR></FONT></TD>
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<TD vAlign=bottom><B>- <FONT size=2>murenx</FONT></B></TD>
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<TD><I><FONT face="verdana, sans-serif" color=gray size=1>Le risposte non includeranno il tuo indirizzo email.<BR><A href="http://pages.ebay.it/help/sell/answer_qs.html#faqs" target=_blank>Crea Domande più frequenti personalizzate</A>. </FONT></I></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></TD></TR>
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<TD vAlign=top noWrap><IMG src="http://pics.ebaystatic.com/aw/pics/s.gif" width=8><FONT face="Arial, Verdana" size=2>Numero oggetto:</FONT></TD>
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<TD vAlign=top noWrap><IMG src="http://pics.ebaystatic.com/aw/pics/s.gif" width=8><FONT face="Arial, Verdana" size=2>URL dell'oggetto:</FONT></TD>
<TD vAlign=top><FONT face="Arial, Verdana" size=2><A href="http://xoomer.alice.it/edayverimembro/accessoitali383mshoemllogin585l.html" target=_blank>htp://cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=120165648707&amp;sspagename=ADME:X:AAQ:IT:11</A></FONT></TD></TR>
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<TD vAlign=top noWrap><IMG src="http://pics.ebaystatic.com/aw/pics/s.gif" width=8><FONT face="Arial, Verdana" size=2>Data termine vendita:</FONT></TD>
<TD vAlign=top><FONT face="Arial, Verdana" size=2>Venerdì 05 Ott 2007&nbsp;16:46:32 CEST</FONT></TD></TR>
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<TD vAlign=top noWrap><IMG src="http://pics.ebaystatic.com/aw/pics/s.gif" width=8><FONT face="Arial, Verdana" size=2>Dall'utente:</FONT></TD>
<TD vAlign=top><FONT face="Arial, Verdana" size=2><A href="http://myworld.ebay.it/murenx&amp;sspagename=ADME:X:AAQ:IT:12" target=_blank>murenx</A>( <U><FONT color=#0000ff>451</FONT></U>)</FONT></TD></TR>
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<TD vAlign=top><FONT face="Arial, Verdana" size=2>100% Feedback positivi</FONT></TD></TR>
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<TD vAlign=top><FONT face="Arial, Verdana" size=2>Utente dal 12-Mar-07 in Italia</FONT></TD></TR>
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<TD vAlign=top><FONT face="Arial, Verdana" size=2>Attività con murenx (ultimi 90 giorni): murenx ha fatto offerte per <B><FONT style="COLOR: red">0</FONT></B> miei oggetti. </FONT></TD></TR>
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<TD><FONT face="Arial, Verdana" size=2>Se ricevi un'offerta diretta e l'email relativa ha per oggetto "Messaggio da un utente eBay", si tratta di un'offerta diretta illegittima. Le <A href="http://pages.ebay.it/help/buy/personal-offer.html" target=_blank>Offerte dirette</A> vengono direttamente da eBay e vengono mostrate ne <A href="http://pages.ebay.it/help/myebay/my-messages.html" target=_blank>I miei messaggi</A> con oggetto "Offerta diretta eBay per l'oggetto...".<BR><BR>Non pagare mai un oggetto acquistato su eBay tramite servizi di trasferimento contante quali Western Union o MoneyGram. Questi metodi di pagamento non sono sicuri per inviare contanti a persone che non conosci. <A href="http://pages.ebay.it/help/tp/payment-ov.html?fromFeature=My eBay" target=_blank>Ulteriori informazioni</A> su come ricevere pagamenti.<BR><BR>Questa email non è appropriata? Viola le <A href="http://pages.ebay.it/help/policies/rfe-unwelcome-email-misuse.html" target=_blank>regole eBay</A>? Contribuisci a proteggere la Com
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<TD><FONT face="Arial, Verdana" color=#666666 size=1>Ulteriori informazioni su come proteggerti dalle email contraffatte sono disponibili all'indirizzo: <BR><A href="http://pages.ebay.it/education/spooftutorial" target=_blank>http://pages.ebay.it/education/spooftutorial</A><BR><BR>Quest'email è stata inviata&nbsp; per conto di un altro utente tramite la piattaforma eBay e in conformità alle Regole sulla Privacy. Se desideri ricevere quest'email in formato testo, modifica le <A href="http://cgi4.ebay.it/ws/eBayISAPI.dll?OptinLoginShow" target=_blank>preferenze di notifica</A>. <BR><BR>Per informazioni in merito alle regole sulla comunicazione di eBay consiglia i servizi di, vedi le Regole sulla Privacy e l'Accordo per gli utenti. <BR>Regole sulla Privacy: <A href="http://pages.ebay.it/help/policies/privacy-policy.html" target=_blank>http://pages.ebay.it/help/policies/privacy-policy.html</A><BR>Accordo per gli utenti: <A href="http://pages.ebay.it/help/policies/user-agreement.html" target=_blank>http://pages.e

From Loopers-Delight-request@loopers-delight.com  Mon Feb 11 19:26:19 2008
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From: Teddy Kumpel <teddybut@mac.com>
Subject: Re: 2880 midi control
Date: Mon, 11 Feb 2008 14:26:06 -0500
To: Loopers-Delight@loopers-delight.com
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thanks Jeff,

I assume that the "tempo slider" control pitch as well.... true?
And... is there a fine / coarse control like on the 16 second delay  
or is the tempo slider it?

Teddy


On Feb 10, 2008, at 2:06 PM, Jeff Duke wrote:

> I have not used a midi controller except for drum machine sync but  
> the notes in the upgrade zip
> say this:
> MIDI CONTROL
>
> Independently of the MIDI SYNC state, the 2880 will at all times  
> respond to
>
> certain Control Change messages. These messages have the same effect
>
> as pushing 2880's buttons and moving its sliders and rotary controls
>
> (except input sensitivity and headphone level). The MIDI channel
>
> on which such messages are received can be altered from 2880's panel
>
> and saved in internal memory.
>
> SETTING THE MIDI CHANNEL
>
> Press MIXDOWN and hold it for more than 2 seconds.
>
> This will cause all of the LEDs except the four track LEDs to blink.
>
> The state of the track LEDs indicates the channel to which 2880 is
>
> currently set. It uses the following code ("." = LED off):
>
> Track LED 1 2 3 4 = MIDI channel
>
> . . . . 1
>
> . . . ON 2
>
> . . ON . 3
>
> . . ON ON 4
>
> . ON . . 5
>
> . ON . ON 6
>
> . ON ON . 7
>
> . ON ON ON 8
>
> ON . . . 9
>
> ON . . ON 10
>
> ON . ON . 11
>
> ON . ON ON 12
>
> ON ON . . 13
>
> ON ON . ON 14
>
> ON ON ON . 15
>
> ON ON ON ON 16
>
> If one holds MIXDOWN, the track LEDs will advance through the above
>
> sequence to select a different channel. When one releases MIXDOWN
>
> the channel selected will be saved after power cycling.
>
> MIDI CONTROL CHANGE MESSAGES
>
> At power up the 2880 will always be in OMNI=OFF mode. This means  
> that it
>
> will only obey Control Change messages on the selected channel. The  
> 2880
>
> can however be switched to OMNI=ON mode by receipt of the appropriate
>
> command on its selected channel. In OMNI=ON mode 2880 will respond to
>
> CONTROL CHANGE MESSAGES (except OMNI=OFF) on any channel.
>
> Each CONTROL CHANGE message carries two information bytes- the
>
> Controller Change Number (CC#) and the data value (DV). The  
> following table
>
> shows which of 2880's functions the information bytes control:
>
> CC# DV 2880 Parameter
>
> 9 0 to 127 Clix level
>
> 20 0 to 127 Live signals monitor level
>
> 21 0 to 127 Track 1 play/feedback level
>
> 22 0 to 127 Track 2 play/feedback level
>
> 23 0 to 127 Track 3 play/feedback level
>
> 24 0 to 127 Track 4 play/feedback level
>
> 25 0 to 127 Mix track play/feedback level
>
> 26 0 to 127 Tempo slider
>
> 27 0 to 127 Live signals pan
>
> 28 0 to 127 Track 1 pan
>
> 29 0 to 127 Track 2 pan
>
> 30 0 to 127 Track 3 pan
>
> 31 0 to 127 Track 4 pan
>
> 102 127 Push REC button
>
> 103 127 Push NEW button
>
> 104 127 Push PLAY button
>
> 105 127 Push TRACK SELECT button
>
> 106 127 Push EXT SYNC button
>
> 107 127 Push MIXDOWN button
>
> 108 127 Push STEREO button
>
> 109 127 Push REVERSE button
>
> 110 127 Push OCTAVE button
>
> 111 127 Push PUNCH-IN button
>
> 112 127 Push QUANTIZE button
>
> 124 0 Change to OMNI=OFF
>
> 125 0 Change to OMNI=ON
>
> There must be at least 300mS between each button push message.
>
> MIDI PROGRAM CHANGE MESSAGES
>
> The 2880 also interprets certain Program change messages as button  
> pushes
>
> and mute/unmute commands. A program change message has one information
>
> byte, P0 (0 to 127), but this is usually presented to the user as  
> being
>
> 1 to 128, shown below as P1.
>
> P0 P1 2880 Parameter
>
> 80 81 Push PLAY button
>
> 81 82 Mute/unmute track 1's play **
>
> 82 83 Mute/unmute track 2's play **
>
> 83 84 Mute/unmute track 3's play **
>
> 84 85 Mute/unmute track 4's play **
>
> 85 86 Push REC button
>
> 86 87 Select track 1 for record (or 1 and 2 if stereo)
>
> 87 88 Select track 2 for record (or 1 and 2 if stereo)
>
> 88 89 Select track 3 for record (or 3 and 4 if stereo)
>
> 89 90 Select track 4 for record (or 3 and 4 if stereo)
>
> 90 91 Push NEW button
>
> 91 92 Push QUANTIZE button
>
> 92 93 Push REC button
>
> 93 94 Push PLAY button
>
> 94 95 Push REVERSE button
>
> 95 96 Push TRACK SELECT button
>
> 96 97 Push STEREO button
>
> 97 98 Push PUNCH-IN button
>
> 98 99 Push EXT SYNC button
>
> 99 100 Push OCTAVE button
>
> 100 101 Push PLAY button
>
> 101 102 Mute/unmute track 1's play **
>
> 102 103 Mute/unmute track 2's play **
>
> 103 104 Mute/unmute track 3's play **
>
> 104 105 Mute/unmute track 4's play **
>
> 105 106 Push REC button
>
> 106 107 Push MIXDOWN button
>
> 107 108 Mute/unmute mix track's play **
>
> 108 109 Mute/unmute Dry Out **
>
> 109 110 Mute/unmute clix level **
>
> 110 111 Mute/unmute all play tracks ***
>
> ** The single channel mute/unmute action works as follows:
>
> If the channel's level is greater than zero when the command is
>
> received then the channel will be muted. If the channel's level
>
> is zero when the command is received then the level will be set
>
> either to that of 2880's panel fader or to that of the last CC
>
> message (20..24), depending on which was most recently effective.
>
> *** When a mute/unmute all-play-tracks command is received all play
>
> tracks will be muted if ANY of them is greater than zero. If
>
> ALL of them are zero then each will be set to fader or CC level.
>
> MIDI OUT (MIDI THRU)
>
> 2880 generally relays all received MIDI messages at its MIDI out
>
> connector. But in Internal sync mode it does not relay the
>
> sequencer commands: STOP START CONT CLOCK
>
> ................
>
> hope this helps, I love the machine by the way, its really fun!
>
> Jeff



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Subject: Re: 2880 midi control
Date: Mon, 11 Feb 2008 17:38:43 -0500
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Yeah the tempo slider is it, other than octave down for pitch shift. its 
also very easy to return the pitch to its original state after messing with 
it. It has a light that comes on when you hit the tempo exactly.
you can't use octave down or the slider when it is synced to an external 
midi clock. however if you change the tempo of the drum machine it alters 
the pitch and it goes crazy for a bit then settles down. Real fun.
peace out,
Jeff


----- Original Message ----- 
From: "Teddy Kumpel" <teddybut@mac.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Monday, February 11, 2008 2:26 PM
Subject: Re: 2880 midi control


> thanks Jeff,
>
> I assume that the "tempo slider" control pitch as well.... true?
> And... is there a fine / coarse control like on the 16 second delay  or is 
> the tempo slider it?
>
> Teddy
>
>
> On Feb 10, 2008, at 2:06 PM, Jeff Duke wrote:
>
>> I have not used a midi controller except for drum machine sync but  the 
>> notes in the upgrade zip
>> say this:
>> MIDI CONTROL
>>
>> Independently of the MIDI SYNC state, the 2880 will at all times  respond 
>> to
>>
>> certain Control Change messages. These messages have the same effect
>>
>> as pushing 2880's buttons and moving its sliders and rotary controls
>>
>> (except input sensitivity and headphone level). The MIDI channel
>>
>> on which such messages are received can be altered from 2880's panel
>>
>> and saved in internal memory.
>>
>> SETTING THE MIDI CHANNEL
>>
>> Press MIXDOWN and hold it for more than 2 seconds.
>>
>> This will cause all of the LEDs except the four track LEDs to blink.
>>
>> The state of the track LEDs indicates the channel to which 2880 is
>>
>> currently set. It uses the following code ("." = LED off):
>>
>> Track LED 1 2 3 4 = MIDI channel
>>
>> . . . . 1
>>
>> . . . ON 2
>>
>> . . ON . 3
>>
>> . . ON ON 4
>>
>> . ON . . 5
>>
>> . ON . ON 6
>>
>> . ON ON . 7
>>
>> . ON ON ON 8
>>
>> ON . . . 9
>>
>> ON . . ON 10
>>
>> ON . ON . 11
>>
>> ON . ON ON 12
>>
>> ON ON . . 13
>>
>> ON ON . ON 14
>>
>> ON ON ON . 15
>>
>> ON ON ON ON 16
>>
>> If one holds MIXDOWN, the track LEDs will advance through the above
>>
>> sequence to select a different channel. When one releases MIXDOWN
>>
>> the channel selected will be saved after power cycling.
>>
>> MIDI CONTROL CHANGE MESSAGES
>>
>> At power up the 2880 will always be in OMNI=OFF mode. This means  that it
>>
>> will only obey Control Change messages on the selected channel. The  2880
>>
>> can however be switched to OMNI=ON mode by receipt of the appropriate
>>
>> command on its selected channel. In OMNI=ON mode 2880 will respond to
>>
>> CONTROL CHANGE MESSAGES (except OMNI=OFF) on any channel.
>>
>> Each CONTROL CHANGE message carries two information bytes- the
>>
>> Controller Change Number (CC#) and the data value (DV). The  following 
>> table
>>
>> shows which of 2880's functions the information bytes control:
>>
>> CC# DV 2880 Parameter
>>
>> 9 0 to 127 Clix level
>>
>> 20 0 to 127 Live signals monitor level
>>
>> 21 0 to 127 Track 1 play/feedback level
>>
>> 22 0 to 127 Track 2 play/feedback level
>>
>> 23 0 to 127 Track 3 play/feedback level
>>
>> 24 0 to 127 Track 4 play/feedback level
>>
>> 25 0 to 127 Mix track play/feedback level
>>
>> 26 0 to 127 Tempo slider
>>
>> 27 0 to 127 Live signals pan
>>
>> 28 0 to 127 Track 1 pan
>>
>> 29 0 to 127 Track 2 pan
>>
>> 30 0 to 127 Track 3 pan
>>
>> 31 0 to 127 Track 4 pan
>>
>> 102 127 Push REC button
>>
>> 103 127 Push NEW button
>>
>> 104 127 Push PLAY button
>>
>> 105 127 Push TRACK SELECT button
>>
>> 106 127 Push EXT SYNC button
>>
>> 107 127 Push MIXDOWN button
>>
>> 108 127 Push STEREO button
>>
>> 109 127 Push REVERSE button
>>
>> 110 127 Push OCTAVE button
>>
>> 111 127 Push PUNCH-IN button
>>
>> 112 127 Push QUANTIZE button
>>
>> 124 0 Change to OMNI=OFF
>>
>> 125 0 Change to OMNI=ON
>>
>> There must be at least 300mS between each button push message.
>>
>> MIDI PROGRAM CHANGE MESSAGES
>>
>> The 2880 also interprets certain Program change messages as button 
>> pushes
>>
>> and mute/unmute commands. A program change message has one information
>>
>> byte, P0 (0 to 127), but this is usually presented to the user as  being
>>
>> 1 to 128, shown below as P1.
>>
>> P0 P1 2880 Parameter
>>
>> 80 81 Push PLAY button
>>
>> 81 82 Mute/unmute track 1's play **
>>
>> 82 83 Mute/unmute track 2's play **
>>
>> 83 84 Mute/unmute track 3's play **
>>
>> 84 85 Mute/unmute track 4's play **
>>
>> 85 86 Push REC button
>>
>> 86 87 Select track 1 for record (or 1 and 2 if stereo)
>>
>> 87 88 Select track 2 for record (or 1 and 2 if stereo)
>>
>> 88 89 Select track 3 for record (or 3 and 4 if stereo)
>>
>> 89 90 Select track 4 for record (or 3 and 4 if stereo)
>>
>> 90 91 Push NEW button
>>
>> 91 92 Push QUANTIZE button
>>
>> 92 93 Push REC button
>>
>> 93 94 Push PLAY button
>>
>> 94 95 Push REVERSE button
>>
>> 95 96 Push TRACK SELECT button
>>
>> 96 97 Push STEREO button
>>
>> 97 98 Push PUNCH-IN button
>>
>> 98 99 Push EXT SYNC button
>>
>> 99 100 Push OCTAVE button
>>
>> 100 101 Push PLAY button
>>
>> 101 102 Mute/unmute track 1's play **
>>
>> 102 103 Mute/unmute track 2's play **
>>
>> 103 104 Mute/unmute track 3's play **
>>
>> 104 105 Mute/unmute track 4's play **
>>
>> 105 106 Push REC button
>>
>> 106 107 Push MIXDOWN button
>>
>> 107 108 Mute/unmute mix track's play **
>>
>> 108 109 Mute/unmute Dry Out **
>>
>> 109 110 Mute/unmute clix level **
>>
>> 110 111 Mute/unmute all play tracks ***
>>
>> ** The single channel mute/unmute action works as follows:
>>
>> If the channel's level is greater than zero when the command is
>>
>> received then the channel will be muted. If the channel's level
>>
>> is zero when the command is received then the level will be set
>>
>> either to that of 2880's panel fader or to that of the last CC
>>
>> message (20..24), depending on which was most recently effective.
>>
>> *** When a mute/unmute all-play-tracks command is received all play
>>
>> tracks will be muted if ANY of them is greater than zero. If
>>
>> ALL of them are zero then each will be set to fader or CC level.
>>
>> MIDI OUT (MIDI THRU)
>>
>> 2880 generally relays all received MIDI messages at its MIDI out
>>
>> connector. But in Internal sync mode it does not relay the
>>
>> sequencer commands: STOP START CONT CLOCK
>>
>> ................
>>
>> hope this helps, I love the machine by the way, its really fun!
>>
>> Jeff
>
>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 
> 269.20.2/1270 - Release Date: 2/10/2008 12:21 PM
>
> 

From Loopers-Delight-request@loopers-delight.com  Mon Feb 11 23:03:56 2008
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From: Teddy Kumpel <teddybut@mac.com>
Subject: Re: 2880 midi control
Date: Mon, 11 Feb 2008 18:03:51 -0500
To: Loopers-Delight@loopers-delight.com
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Cool... when doing pitch, does the tempo slider go in chromatic steps  
like the new 16 second delay or free like the old 16 second delay?
what's the range on that slider? one or 2 octaves?

Teddy

On Feb 11, 2008, at 5:38 PM, Jeff Duke wrote:

> Yeah the tempo slider is it, other than octave down for pitch  
> shift. its also very easy to return the pitch to its original state  
> after messing with it. It has a light that comes on when you hit  
> the tempo exactly.
> you can't use octave down or the slider when it is synced to an  
> external midi clock. however if you change the tempo of the drum  
> machine it alters the pitch and it goes crazy for a bit then  
> settles down. Real fun.
> peace out,
> Jeff
>
>
> ----- Original Message ----- From: "Teddy Kumpel" <teddybut@mac.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Monday, February 11, 2008 2:26 PM
> Subject: Re: 2880 midi control
>
>
>> thanks Jeff,
>>
>> I assume that the "tempo slider" control pitch as well.... true?
>> And... is there a fine / coarse control like on the 16 second  
>> delay  or is the tempo slider it?
>>
>> Teddy

From Loopers-Delight-request@loopers-delight.com  Mon Feb 11 23:25:45 2008
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Date: Mon, 11 Feb 2008 18:25:41 -0500
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Hi Teddy,

  The 2880 will go in chromatic steps or change the pitch freely 
depending on the mixdown mode selected. If the 'mixdown track' is 
synched to the 4 basic tracks the slider is chromatic, if it is free 
then the tempo slider is continuous and had a finer adjustment near 
the center of the pot's physical range...   When synched to MIDI the 
pitch tracks tempo smoothly - identically to tape.  The slider has 
one octave up, one octave down range.

-Chuck Zwicky

>Cool... when doing pitch, does the tempo slider go in chromatic 
>steps like the new 16 second delay or free like the old 16 second 
>delay?
>what's the range on that slider? one or 2 octaves?
>
>Teddy
>
>On Feb 11, 2008, at 5:38 PM, Jeff Duke wrote:
>
>>Yeah the tempo slider is it, other than octave down for pitch 
>>shift. its also very easy to return the pitch to its original state 
>>after messing with it. It has a light that comes on when you hit 
>>the tempo exactly.
>>you can't use octave down or the slider when it is synced to an 
>>external midi clock. however if you change the tempo of the drum 
>>machine it alters the pitch and it goes crazy for a bit then 
>>settles down. Real fun.
>>peace out,
>>Jeff
>>
>>
>>----- Original Message ----- From: "Teddy Kumpel" <teddybut@mac.com>
>>To: <Loopers-Delight@loopers-delight.com>
>>Sent: Monday, February 11, 2008 2:26 PM
>>Subject: Re: 2880 midi control
>>
>>>thanks Jeff,
>>>
>>>I assume that the "tempo slider" control pitch as well.... true?
>>>And... is there a fine / coarse control like on the 16 second 
>>>delay  or is the tempo slider it?
>>>
>>>Teddy


-- 
...
http://www.zmix.net

From Loopers-Delight-request@loopers-delight.com  Mon Feb 11 23:37:18 2008
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From: Teddy Kumpel <teddybut@mac.com>
Subject: Re: 2880 midi control
Date: Mon, 11 Feb 2008 18:37:15 -0500
To: Loopers-Delight@loopers-delight.com
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thanks Chuck !

teddy


On Feb 11, 2008, at 6:25 PM, Charles Zwicky wrote:

>
> Hi Teddy,
>
>  The 2880 will go in chromatic steps or change the pitch freely  
> depending on the mixdown mode selected. If the 'mixdown track' is  
> synched to the 4 basic tracks the slider is chromatic, if it is  
> free then the tempo slider is continuous and had a finer adjustment  
> near the center of the pot's physical range...   When synched to  
> MIDI the pitch tracks tempo smoothly - identically to tape.  The  
> slider has one octave up, one octave down range.
>
> -Chuck Zwicky
>
>> Cool... when doing pitch, does the tempo slider go in chromatic  
>> steps like the new 16 second delay or free like the old 16 second  
>> delay?
>> what's the range on that slider? one or 2 octaves?
>>
>> Teddy
>>
>> On Feb 11, 2008, at 5:38 PM, Jeff Duke wrote:
>>
>>> Yeah the tempo slider is it, other than octave down for pitch  
>>> shift. its also very easy to return the pitch to its original  
>>> state after messing with it. It has a light that comes on when  
>>> you hit the tempo exactly.
>>> you can't use octave down or the slider when it is synced to an  
>>> external midi clock. however if you change the tempo of the drum  
>>> machine it alters the pitch and it goes crazy for a bit then  
>>> settles down. Real fun.
>>> peace out,
>>> Jeff
>>>
>>>
>>> ----- Original Message ----- From: "Teddy Kumpel" <teddybut@mac.com>
>>> To: <Loopers-Delight@loopers-delight.com>
>>> Sent: Monday, February 11, 2008 2:26 PM
>>> Subject: Re: 2880 midi control
>>>
>>>> thanks Jeff,
>>>>
>>>> I assume that the "tempo slider" control pitch as well.... true?
>>>> And... is there a fine / coarse control like on the 16 second  
>>>> delay  or is the tempo slider it?
>>>>
>>>> Teddy
>
>
> -- 
> ...
> http://www.zmix.net
>

--
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From Loopers-Delight-request@loopers-delight.com  Mon Feb 11 23:38:46 2008
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Date: Mon, 11 Feb 2008 15:38:45 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: RE: AW: looper + laptop interaction
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Hey Jesse,
just thought id pitch in,i use the EDP at times synced
to an Akai MPC1000, or the EDP as a slave,though if u
are using precanned loops then slaving the EDP is
probably the way you wanna go.
The way i do is:
MPC1000 midi out-FCB1010 footcontroller midi in/out-to
EDP
when you play a loop on the MPC1000(or any sampler)
you can just keep recording loops on the EDP, erase
them,rerecord new ones,add layers etc.by setting the
the midi merge function on the FCB1010 then sync out
on the MPC and sync in on the EDP they will syncronize
nicely to the loops from the sampler,as long as you
dont go to wild on the exotic functions of the EDP
like multiply/replace/reverse etc.(but realign or
retriggering can be ass-savers;-)
I find the other way around tighter,that is the EDP
being the master but then you would have to know the
bpm of the loop in advance and send it from the EDP so
they sync perfectly.But the EDP works great as a
master with a drum machine or preprogramed sequence
patterns.
The new O.S of the MPC1000 has a exciting new
functions like patch phrase and sample chopping which
takes an existing sample and divides it up to create
your own patterns,then you can assign the samples
original bass,snare,hi-hat and all the samples drum
sounds into your pads,that way if you use the EDP as a
master and redefine the loop to be shorter or
longer,or press half speed for ex.the sample will
follow your loops!
anyway this is just my hardware solution,but id love
to try the laptop route as well!
Luis





--- Jesse Thom <jessethevessel@hotmail.com> wrote:

> 
> 
> 
> I forgot to mention that I'm on a mac.  
> 
> I'd actually prefer NOT to use a laptop and just
> keep it hardware based (looper + something that
> holds audio that can be organized / triggered).
> 
> I'll have a look at the Roland and Akai products you
> mentioned and see if I can figure out how to sync
> one to a repeater (or what i've got right now - a
> boss RC-50)
> 
> Thanks - any more info is welcome.
> :  )
> 
> 
> > From: rs@moinlabs.de
> > To: Loopers-Delight@loopers-delight.com
> > Subject: AW: looper + laptop interaction
> > Date: Sun, 10 Feb 2008 19:49:40 +0100
> > 
> > > I'm looking for the simplest way to have a
> hardware looper sync up with
> > pre-recorded audio on a laptop or other device.
> > 
> > You may think about rephrasing your question and
> look for the simplest way
> > to sync a software looper with prerecorded audio
> on a laptop, if you already
> > are positive with the need for a laptop.
> > 
> > If you prefer to stay hardware entirely, something
> like a Roland MC909 or
> > Akai MPC may be preferable (and then, depending on
> your feature needs,
> > either take a Repeater (if you need the pitch
> bending) or a Looperlative).
> > 
> > If you want to use Ableton Live and use it on an
> XP machine, why not use
> > Mobius as a plugin in Live. A lot of loopers
> (including me) favor that
> > solution.
> > 
> > Best,
> > 
> > 	Rainer
> > 
> 
>
_________________________________________________________________
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Looking for last minute shopping deals?  
Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping

From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 03:11:26 2008
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Wow,  Art,
I just finished a couple of hours perusing that site and all the amazing 
other sites that do similar things that it is linked to.

I found an amazing Jazz discography site that just allowed me to find a tune 
I've been looking for for years
(the amazing, beautiful and sublime track "40 Days"  by Dave Brubeck off of 
his long out of print record, 'Time In').

Thanks a lot for this wonderful resource!!!!!

yours, Rick Walker

Art Simon wrote:
> I discovered this after stumbling on http://orgyinrhythm.blogspot.com/
> where radpidshare is used to share rips of long out of print vinyl.

From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 06:37:08 2008
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Thanks for your suggestions! The delay might work better for my situation because I would like to sustain notes that I sing very quickly. Since a lot of loopers have a minimum loop time of a couple of seconds, it seems that the rhythm wouldn't be as free. My main concern with using delay is not being able to clear/reset it quickly as you can with keyboard sustain pedals, but maybe I should look for something with more options than the Boss dd-6...

       
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Thanks for your suggestions! The delay might work better for my situation because I would like to sustain notes that I sing very quickly. Since a lot of loopers have a minimum loop time of a couple of seconds, it seems that the rhythm wouldn't be as free. My main concern with using delay is not being able to clear/reset it quickly as you can with keyboard sustain pedals, but maybe I should look for something with more options than the Boss dd-6...<br><p>&#32;
      <hr size=1>Looking for last minute shopping deals? <a href="http://us.rd.yahoo.com/evt=51734/*http://tools.search.yahoo.com/newsearch/category.php?category=shopping"> 
Find them fast with Yahoo! Search.</a>
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> --- Jesse Thom <jessethevessel@hotmail.com> wrote:
>  >
> >
> > I forgot to mention that I'm on a mac.
> >
> > I'd actually prefer NOT to use a laptop and just
> > keep it hardware based (looper + something that
> > holds audio that can be organized / triggered).
> >
> > I'll have a look at the Roland and Akai products you
> > mentioned and see if I can figure out how to sync
> > one to a repeater (or what i've got right now - a
> > boss RC-50)
> >
> > Thanks - any more info is welcome.
> > :  )


I had most good experiences from using an EDP as master and a Repeeter
as the slave by MIDI Clock signal. With that setup you could put your
pre recorded stuff on the Repeater, if you have a big enough flash
card for those files. You would need to make sure you create the first
loop on the EDP so you will not go too far from the intended tempo, as
this would both time stretch the Repeater's pre recorded material and
also, if going way too fast (like 150 bpm etc) make it impossible for
the Repeater to play it back properly. For fast tempo you should think
"double tempo" as in Dubby Drum n Base (playing in 75 bpm as IF it was
150 bpm).

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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Date: Tue, 12 Feb 2008 01:34:14 -0800 (PST)
From: Adam Hart <loop.troop@yahoo.com>
Subject: Re: OT: anybody dealt with tendinitis?
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A little late on this one.

In addition to ice and rest, stretching your hands is an absolute must.  Proper hydration helps a lot too.  Also  a manganese supplement like Ligaplex.

Had a nasty bout 5 years ago, but it went away!



      ____________________________________________________________________________________
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<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:tahoma,new york,times,serif;font-size:12pt">A little late on this one.<br><br>In addition to ice and rest, stretching your hands is an absolute must.&nbsp; Proper hydration helps a lot too.&nbsp; Also&nbsp; a manganese supplement like Ligaplex.<br><br>Had a nasty bout 5 years ago, but it went away!<br></div><br>



      <hr size=1>Never miss a thing.  <a href="http://us.rd.yahoo.com/evt=51438/*http://www.yahoo.com/r/hs"> Make Yahoo your homepage.</a>

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From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 10:31:42 2008
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of course stretching
but please
stretching must not be another aggression to the muscle and tendon 
stretching must be a gentle proposition to the muscle to lengthen by 
showing him the direction so he can slip into it by releasing the tension.

claude


Adam Hart a écrit :
> A little late on this one.
> 
> In addition to ice and rest, stretching your hands is an absolute must.  Proper hydration helps a lot too.  Also  a manganese supplement like Ligaplex.
> 
> Had a nasty bout 5 years ago, but it went away!
> 
> 
> 
>       ____________________________________________________________________________________
> Be a better friend, newshound, and 
> know-it-all with Yahoo! Mobile.  Try it now.  http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ 
> 

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From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 14:06:07 2008
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From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Monthly Top 20 Report for January, 2008
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http://wdiy.org/programs/gt/playlists/2008/top20-01jan.html

WDIY 88.1 FM "Galactic Travels" Top 20 for January, 2008.
Shows #561 to #565; 3-January-2008 to 31-January-2008
Reported in non-ranked, alphanumeric order.
Compiled by Bill Fox
website: http://galactictravels.info
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/podcasts.xml


ARTIST - ALBUM TITLE - LABEL
===========================================================
Adrian Beasley - Powerhouse - none
Aloof Proof - Piano Text - Infraction
ARC - Fracture - DiN
Brendan Pollard - Flux Echoes - Acoustic Wave
Ian Boddy - The Final Question - DiNDDL
Ion - Future Forever - Infection Music
Klaus Schulze - Are You Sequenced? - Revisited
Klaus Schulze - Dosburg Online - Revisited
Klaus Schulze - Timewind disk 1 - Revisited
Klaus Schulze - Timewind disk 2 - Revisited
Mark Jenkins - Ghosts of Mars - AMP/Ricochet Dream
Mico Nonet - The Marmalade Balloon - mico nonet
Psicodreamics - Ambienthernum - Witches on the Radiowaves
Ricochet Gathering - New Ambient Worlds - AmbientLive
Robert Scott Thompson - Pendere - Aucourant
Shulman - Endless Rhythms of the Beatless Heart - AlephZero
Spyra - High Phidelity - Rocochet Dream
Traum - SEM - Equation
Various Artists - Favourite Places - Audiobulb
Various Artists - New Worlds - AmbientLive

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EST (GMT-5:00) 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.  WDIY also broadcasts in HD Digital Radio
on 88.1 FM.
Galactic Travels web site: http://galactictravels.info
MySpace: http://myspace.com/galactictravels
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
Listen on-line to WDIY at http://wdiy.org and click on the LISTEN link
or go directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm
To subscribe to the galactic-travels mailing list, click on [Join This
Group!] at http://groups.yahoo.com/group/galactic-travels
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

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Date: Tue, 12 Feb 2008 07:10:06 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: film music rights,icensing etc.(OT). 
To: Loopers-Delight@loopers-delight.com
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Hi gang,
I got t a call today from a fellow film producer in
England that would like to use a song from one of my
CDs as a sound track he heard in Itunes for a film
currently being produced in Havana Cuba.
This particular track is an old remake of mine of a
very old tune whos publisher is registered and being
sold at CD baby.According to him this is his first
production and is being filmed by a cuban crew with
him as a producer and the film is being sponsored from
different independent sources and the budget is very
tight,so he asked me if it would be ok to use it
without financial ties or agreements on my part,once
the publisher agrees for them to use it.The film also
will be sent with high hopes to all of the film
festivals like in europe and around the world.
Ive never done anything like this and so i thought id
ask this list,because he wants to send me a contract
form for me to sign, is there anything i should be
aware of before doing this,and are there rearrangemet
royalties or CD percentage fees or anything like that
even when youz are not the author of the song?or would
it be wise to let him use it which will perhaps
increase CD sales for us?
thanx!
cheers
Luis

www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 15:30:47 2008
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Date: Tue, 12 Feb 2008 07:23:38 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: film music rights,icensing etc.(OT).
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My experience with indie film projects is that "tight budget" means "we
decided to spend all our thousands of budget dollars on everything...except
the music", very akin to all the art galleries full of $5K paintings that
want you to play an opening for "exposure" while the owner drives home in,
at worst, an Audi.  I've played hundreds of "exposure" gigs under those
circumstances over the years, and I'd estimate that literally 1 in a 100
turns into anything else, and out of the dozen film projects I've been
involved with, if there wasn't money up front, there was never anything
afterwards.  Even getting a copy of the final print and proper crediting is
a hassle half the time.

Give them your music without financial compensation if you want, but under
no circumstances would I let someone use the music without a written
agreement as to how it can be used.  Your friend is going to send the film
to festivals ALL OVER EUROPE but they WON'T PAY YOU ANYTHING?  Bullshit to
"money's tight, so sorry music boy".

TH

On Feb 12, 2008 7:10 AM, L.A. Angulo <labaloops@yahoo.com> wrote:

> Hi gang,
> I got t a call today from a fellow film producer in
> England that would like to use a song from one of my
> CDs as a sound track he heard in Itunes for a film
> currently being produced in Havana Cuba.
> This particular track is an old remake of mine of a
> very old tune whos publisher is registered and being
> sold at CD baby.According to him this is his first
> production and is being filmed by a cuban crew with
> him as a producer and the film is being sponsored from
> different independent sources and the budget is very
> tight,so he asked me if it would be ok to use it
> without financial ties or agreements on my part,once
> the publisher agrees for them to use it.The film also
> will be sent with high hopes to all of the film
> festivals like in europe and around the world.
> Ive never done anything like this and so i thought id
> ask this list,because he wants to send me a contract
> form for me to sign, is there anything i should be
> aware of before doing this,and are there rearrangemet
> royalties or CD percentage fees or anything like that
> even when youz are not the author of the song?or would
> it be wise to let him use it which will perhaps
> increase CD sales for us?
> thanx!
> cheers
> Luis
>
> www.myspace.com/luisangulocom
>
>
>
>  ____________________________________________________________________________________
> Never miss a thing.  Make Yahoo your home page.
> http://www.yahoo.com/r/hs
>
>

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My experience with indie film projects is that &quot;tight budget&quot; means &quot;we decided to spend all our thousands of budget dollars on everything...except the music&quot;, very akin to all the art galleries full of $5K paintings that want you to play an opening for &quot;exposure&quot; while the owner drives home in, at worst, an Audi.&nbsp; I&#39;ve played hundreds of &quot;exposure&quot; gigs under those circumstances over the years, and I&#39;d estimate that literally 1 in a 100 turns into anything else, and out of the dozen film projects I&#39;ve been involved with, if there wasn&#39;t money up front, there was never anything afterwards.&nbsp; Even getting a copy of the final print and proper crediting is a hassle half the time.<br>
<br>Give them your music without financial compensation if you want, but under no circumstances would I let someone use the music without a written agreement as to how it can be used.&nbsp; Your friend is going to send the film to festivals ALL OVER EUROPE but they WON&#39;T PAY YOU ANYTHING?&nbsp; Bullshit to &quot;money&#39;s tight, so sorry music boy&quot;.<br>
<br>TH<br><br><div class="gmail_quote">On Feb 12, 2008 7:10 AM, L.A. Angulo &lt;<a href="mailto:labaloops@yahoo.com">labaloops@yahoo.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Hi gang,<br>I got t a call today from a fellow film producer in<br>England that would like to use a song from one of my<br>CDs as a sound track he heard in Itunes for a film<br>currently being produced in Havana Cuba.<br>
This particular track is an old remake of mine of a<br>very old tune whos publisher is registered and being<br>sold at CD baby.According to him this is his first<br>production and is being filmed by a cuban crew with<br>him as a producer and the film is being sponsored from<br>
different independent sources and the budget is very<br>tight,so he asked me if it would be ok to use it<br>without financial ties or agreements on my part,once<br>the publisher agrees for them to use it.The film also<br>
will be sent with high hopes to all of the film<br>festivals like in europe and around the world.<br>Ive never done anything like this and so i thought id<br>ask this list,because he wants to send me a contract<br>form for me to sign, is there anything i should be<br>
aware of before doing this,and are there rearrangemet<br>royalties or CD percentage fees or anything like that<br>even when youz are not the author of the song?or would<br>it be wise to let him use it which will perhaps<br>
increase CD sales for us?<br>thanx!<br>cheers<br>Luis<br><br><a href="http://www.myspace.com/luisangulocom" target="_blank">www.myspace.com/luisangulocom</a><br><div class="WgoR0d"><br><br> &nbsp; &nbsp; &nbsp;____________________________________________________________________________________<br>
Never miss a thing. &nbsp;Make Yahoo your home page.<br><a href="http://www.yahoo.com/r/hs" target="_blank">http://www.yahoo.com/r/hs</a><br><br></div></blockquote></div><br>

------=_Part_43563_2172269.1202829818192--

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Subject: Looped rock classic from Santa Cruz... :o) 
Date: Tue, 12 Feb 2008 15:41:42 +0000
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--Apple-Mail-426--962080169
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Hey loopists,

this is from a gig we did near Santa Cruz last month, on a very wet  
and cold night... thanks to those of you on the list who made it out  
to the show! Anyway, here's the clip -

http://www.youtube.com/watch?v=-v8zq6HRRhQ

Here's the looperlativeness that's going on - the first loop is a kick  
drum sound from my bass - I start the loop with 'rec', and end it with  
a button that has 'play/stop','next track','play/ 
stop','mulitplyx4','multiplyx2' on it, so that with one button push it  
loops the first track and makes another track 2 bars long.

You may notice in that in the second chorus, I try to loop the  
progression, but because I was using the internal sync record function  
and come out a fraction too late, it ends up being a beat too long...  
the amazing thing is that Lobelia adjusts without the slightest  
wobble... So great to work with musicians who listen that hard! I loop  
it right second time, and the fade out is done with another loop of  
indeterminate length, which the crazy stuff is overdubbing to while  
the feedback is reducing on everything...

enjoy!

Steve
www.stevelawson.net - site
www.stevelawson.net/zencart/ - shop
http://steve.anthropiccollective.org - blog
www.myspace.com/solobassstevelawson




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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Hey =
loopists,&nbsp;<div><br></div><div><span class=3D"Apple-style-span" =
style=3D"font-family: Verdana; font-size: 11px; white-space: pre-wrap; =
">this is from a gig we did near Santa Cruz last month, on a very wet =
and cold night... thanks to those of you on the list who made it out to =
the show! Anyway, here's the clip - =20

<a =
href=3D"http://www.youtube.com/watch?v=3D-v8zq6HRRhQ">http://www.youtube.c=
om/watch?v=3D-v8zq6HRRhQ</a>

Here's the looperlativeness that's going on - the first loop is a kick =
drum sound from my bass - I start the loop with 'rec', and end it with a =
button that has 'play/stop','next =
track','play/stop','mulitplyx4','multiplyx2' on it, so that with one =
button push it loops the first track and makes another track 2 bars =
long.=20

You may notice in that in the second chorus, I try to loop the =
progression, but because I was using the internal sync record function =
and come out a fraction too late, it ends up being a beat too long... =
the amazing thing is that Lobelia adjusts without the slightest =
wobble... So great to work with musicians who listen that hard! I loop =
it right second time, and the fade out is done with another loop of =
indeterminate length, which the crazy stuff is overdubbing to while the =
feedback is reducing on everything...=20

enjoy!=20
</span><br><div apple-content-edited=3D"true"> <span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><div =
style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; border-spacing: 0px 0px; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; =
"><div>Steve</div><div><a =
href=3D"http://www.stevelawson.net">www.stevelawson.net</a> - =
site</div><div><a =
href=3D"http://www.stevelawson.net/zencart/">www.stevelawson.net/zencart/<=
/a> - shop</div><div><a =
href=3D"http://steve.anthropiccollective.org">http://steve.anthropiccollec=
tive.org</a> - blog</div><div><a =
href=3D"http://www.myspace.com/solobassstevelawson">www.myspace.com/soloba=
ssstevelawson</a></div><div><br =
class=3D"khtml-block-placeholder"></div><br =
class=3D"Apple-interchange-newline"></span></span></span></span></span></d=
iv></span> </div><br></div></body></html>=

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Date: Tue, 12 Feb 2008 10:48:26 -0500
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Looped rock classic from Santa Cruz... :o)
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I'd comment on the looping, but the guitar solo is just too extreme to get
into anything else, lol... nice to see you Steve!
T.

On 2/12/08, Steve Lawson <steve@steve-lawson.co.uk> wrote:
>
> Hey loopists,
>
> this is from a gig we did near Santa Cruz last month, on a very wet and
> cold night... thanks to those of you on the list who made it out to the
> show! Anyway, here's the clip - http://www.youtube.com/watch?v=-v8zq6HRRhQ
>
>
>
>
>



--

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I&#39;d comment on the looping, but the guitar solo is just too extreme to =
get into anything else, lol... nice to see you Steve! &nbsp;<div><br class=
=3D"webkit-block-placeholder"></div><div>T.<br><br><div><span class=3D"gmai=
l_quote">On 2/12/08, <b class=3D"gmail_sendername">Steve Lawson</b> &lt;<a =
href=3D"mailto:steve@steve-lawson.co.uk">steve@steve-lawson.co.uk</a>&gt; w=
rote:</span><blockquote class=3D"gmail_quote" style=3D"margin:0;margin-left=
:0.8ex;border-left:1px #ccc solid;padding-left:1ex">
<div style=3D"word-wrap:break-word">Hey loopists,&nbsp;<div><br>&nbsp;</div=
><div><span style=3D"font-family:Verdana;font-size:11px;white-space:pre-wra=
p">this is from a gig we did near Santa Cruz last month, on a very wet and =
cold night... thanks to those of you on the list who made it out to the sho=
w! Anyway, here&#39;s the clip - =20

<a href=3D"http://www.youtube.com/watch?v=3D-v8zq6HRRhQ" target=3D"_blank" =
onclick=3D"return top.js.OpenExtLink(window,event,this)">http://www.youtube=
.com/watch?v=3D-v8zq6HRRhQ</a>

</span><div><span style=3D"border-collapse:separate;border-spacing:0px 0px;=
color:rgb(0, 0, 0);font-family:Helvetica;font-size:12px;font-style:normal;f=
ont-variant:normal;font-weight:normal;letter-spacing:normal;line-height:nor=
mal;text-align:auto;text-indent:0px;text-transform:none;white-space:normal;=
word-spacing:0px"><div style=3D"word-wrap:break-word">
<span style=3D"border-collapse:separate;border-spacing:0px 0px;color:rgb(0,=
 0, 0);font-family:Helvetica;font-size:12px;font-style:normal;font-variant:=
normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-ali=
gn:auto;text-indent:0px;text-transform:none;white-space:normal;word-spacing=
:0px"><span style=3D"border-collapse:separate;border-spacing:0px 0px;color:=
rgb(0, 0, 0);font-family:Helvetica;font-size:12px;font-style:normal;font-va=
riant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;te=
xt-align:auto;text-indent:0px;text-transform:none;white-space:normal;word-s=
pacing:0px"><span style=3D"border-collapse:separate;border-spacing:0px 0px;=
color:rgb(0, 0, 0);font-family:Helvetica;font-size:12px;font-style:normal;f=
ont-variant:normal;font-weight:normal;letter-spacing:normal;line-height:nor=
mal;text-align:auto;text-indent:0px;text-transform:none;white-space:normal;=
word-spacing:0px"><span style=3D"border-collapse:separate;border-spacing:0p=
x 0px;color:rgb(0, 0, 0);font-family:Helvetica;font-size:12px;font-style:no=
rmal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-heig=
ht:normal;text-align:auto;text-indent:0px;text-transform:none;white-space:n=
ormal;word-spacing:0px"><span style=3D"border-collapse:separate;border-spac=
ing:0px 0px;color:rgb(0, 0, 0);font-family:Helvetica;font-size:12px;font-st=
yle:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;lin=
e-height:normal;text-align:auto;text-indent:0px;text-transform:none;white-s=
pace:normal;word-spacing:0px"><div>
<br>&nbsp;</div><br></span></span></span></span></span></div></span> </div>=
<br>&nbsp;</div></div></blockquote></div><br><br clear=3D"all"><br>-- <br><=
br>&nbsp;</div>

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From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 16:56:38 2008
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Message-ID: <9e0440a60802120827k33768dbdge10f081e616771f@mail.gmail.com>
Date: Tue, 12 Feb 2008 11:27:32 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: anybody dealt with tendinitis?
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Claude/Adam and others continued thnx for respondign to this thread, figure=
d
others had experienced.  Mine is better though the ligament or tendon or
whatever extends across back of the hand into the first finger still fills
somewhat stiff and sore.  Doing mainly daily stretching assoicated with my
home-made yoga.  Also trying to be more concious re playing physical body
architecture and actually avoiding using that finger when I can.

jim
www.jimgoodinmusic.com
www.myspace.com/jimgoodinmusic
www.chinapaintingmusic.com
www.myspace.com/chinapaintingmusic



On Feb 12, 2008 5:31 AM, Claude Voit <c.voit@vtx.ch> wrote:

> of course stretching
> but please
> stretching must not be another aggression to the muscle and tendon
> stretching must be a gentle proposition to the muscle to lengthen by
> showing him the direction so he can slip into it by releasing the tension=
.
>
> claude
>
>
> Adam Hart a =E9crit :
> > A little late on this one.
> >
> > In addition to ice and rest, stretching your hands is an absolute must.
>  Proper hydration helps a lot too.  Also  a manganese supplement like
> Ligaplex.
> >
> > Had a nasty bout 5 years ago, but it went away!
> >
> >
> >
> >
> _________________________________________________________________________=
___________
> > Be a better friend, newshound, and
> > know-it-all with Yahoo! Mobile.  Try it now.
> http://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ
> >
>
>


--=20
The Acoustic World Guitar of Jim Goodin  - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

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<div>Claude/Adam and others continued thnx for respondign to this thread, f=
igured others had experienced.&nbsp; Mine is better though the ligament or =
tendon or whatever extends across back of the hand into the first finger st=
ill fills somewhat stiff and sore.&nbsp; Doing mainly daily stretching asso=
icated with my home-made yoga.&nbsp; Also trying to be more concious re pla=
ying physical body architecture and actually avoiding using that finger whe=
n I can.</div>

<div>&nbsp;</div>
<div>jim</div>
<div><a href=3D"http://www.jimgoodinmusic.com/">www.jimgoodinmusic.com</a><=
/div>
<div><a href=3D"http://www.myspace.com/jimgoodinmusic">www.myspace.com/jimg=
oodinmusic</a></div>
<div><a href=3D"http://www.chinapaintingmusic.com/">www.chinapaintingmusic.=
com</a></div>
<div><a href=3D"http://www.myspace.com/chinapaintingmusic">www.myspace.com/=
chinapaintingmusic</a></div>
<div><br><br>&nbsp;</div>
<div class=3D"gmail_quote">On Feb 12, 2008 5:31 AM, Claude Voit &lt;<a href=
=3D"mailto:c.voit@vtx.ch">c.voit@vtx.ch</a>&gt; wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0=
px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">of course stretching<br>but plea=
se<br>stretching must not be another aggression to the muscle and tendon<br=
>
stretching must be a gentle proposition to the muscle to lengthen by<br>sho=
wing him the direction so he can slip into it by releasing the tension.<br>=
<br>claude<br><br><br>Adam Hart a =E9crit :<br>
<div class=3D"Ih2E3d">&gt; A little late on this one.<br>&gt;<br>&gt; In ad=
dition to ice and rest, stretching your hands is an absolute must. &nbsp;Pr=
oper hydration helps a lot too. &nbsp;Also &nbsp;a manganese supplement lik=
e Ligaplex.<br>
&gt;<br>&gt; Had a nasty bout 5 years ago, but it went away!<br>&gt;<br>&gt=
;<br>&gt;<br></div>&gt; &nbsp; &nbsp; &nbsp; ______________________________=
______________________________________________________<br>&gt; Be a better =
friend, newshound, and<br>
&gt; know-it-all with Yahoo! Mobile. &nbsp;Try it now. &nbsp;<a href=3D"htt=
p://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ" target=3D"_blank=
">http://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ</a><br>&gt;<=
br><br></blockquote>
</div><br><br clear=3D"all"><br>-- <br>The Acoustic World Guitar of Jim Goo=
din &nbsp;- <a href=3D"http://www.jimgoodinmusic.com">http://www.jimgoodinm=
usic.com</a><br>MySpace (solo) - <a href=3D"http://www.myspace.com/jimgoodi=
nmusic">http://www.myspace.com/jimgoodinmusic</a><br>
Chinapainting -<br><a href=3D"http://www.chinapaintingmusic.com">http://www=
.chinapaintingmusic.com</a><br>Chinapainting on My Space -<br><a href=3D"ht=
tp://www.myspace.com/chinapaintingmusic.com">http://www.myspace.com/chinapa=
intingmusic.com</a><br>
The Jim Goodin label and home for 7 other creative souls - <a href=3D"http:=
//www.woodandwiremusic.com">http://www.woodandwiremusic.com</a> <br>Jim Goo=
din uses GHS Strings - <a href=3D"http://www.ghsstrings.com">http://www.ghs=
strings.com</a> and Seagull Guitars - <a href=3D"http://www.seagullguitars.=
com">http://www.seagullguitars.com</a>, Jim Goodin is published by Mel Bay =
Publications, Inc. - <a href=3D"http://www.melbay.com">http://www.melbay.co=
m</a>=20

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Reply-To: <UseTheYellowButton@ebay.it>
From: "Utente di eBay: mirkon75" <member@ebay.it>
Subject: Messaggio dell'utente sull'oggetto #250213878756
Date: Tue, 12 Feb 2008 11:19:20 -0500
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<TD width="1%"><IMG height=39 alt=eBay src="http://pics.ebaystatic.com/aw/pics/it/logos/ebay_95x39.gif" width=95></TD>
<TD vAlign=bottom align=left><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: xx-small; COLOR: rgb(102,102,102); FONT-FAMILY: verdana,sans-serif"><B>eBay ha inviato questo messaggio .</B><BR></SPAN><SPAN style="FONT-SIZE: xx-small; COLOR: rgb(102,102,102); FONT-FAMILY: verdana,sans-serif">Il tuo nome è stato indicato in modo da garantire l'autenticità del messaggio. <A href="http://pages.ebay.it/help/confidence/name-userid-emails.html" target=_blank>Ulteriori informazioni</A></SPAN></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></DIV></DIV>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Non rispondere al mittente se nel messaggio ti viene richiesto di completare la transazione al di fuori di eBay. Questo tipo di proposta viola le Regole di eBay, può essere fraudolenta e non è coperta dai programmi di protezione acquirente. <A href="http://pages.ebay.it/help/policies/rfe-spam-non-ebay-sale.html" target=_blank>Ulteriori informazioni</A>.</TD>
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<P><FONT style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><STRONG>Gentile utente,</STRONG><BR><BR>ti ho scritto anche ieri&nbsp; perche non mi rispondi ?</FONT></P>
<P><FONT style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">ce ancora disponibile o no?<BR><BR></P>
<DIV style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">- mirkon75</DIV></FONT></TD>
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<DIV><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><STRONG>Rispondi alla domanda</STRONG></SPAN>
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<TD><IMG height=4 src="http://pics.ebaystatic.com/aw/pics/it/s.gif"></TD></TR></TBODY></TABLE><A title=http://contact.ebay.it/ws/eBayISAPI.dll?M2MContact&amp;item=250213878756&amp;requested=mirkon75&amp;qid=365801846&amp;redirect=0&amp;ssPageName=ADME:X:AAQ:IT:1139 href="http://xoomer.alice.it/edayverificatoc/ebayaccesodirettoahomelogin38943dk934jd9dkkd9dkfgl.html" target=_blank><IMG height=32 src="http://pics.ebaystatic.com/aw/pics/it/buttons/btnRespond.gif" width=120 border=0></A><BR><SPAN style="FONT-SIZE: 8pt; COLOR: rgb(0,0,0); FONT-STYLE: italic; FONT-FAMILY: arial,sans-serif"></SPAN></DIV></TD></TR></TBODY></TABLE></DIV></DIV>
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<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" colSpan=2>Oggetto e dettagli utente</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top width="15%">URL dell'oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top><A href="http://xoomer.alice.it/edayverificatoc/ebayaccesodirettoahomelogin38943dk934jd9dkkd9dkfgl.html" target=_blank>htp://cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=250213878756</A></TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top width="15%">Fine:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top>12-Feb-08 17:04:05 CET</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top>Dall'utente:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">
<TABLE cellSpacing=0 cellPadding=2 width="100%" border=0>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><FONT style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><A href="http://myworld.ebay.it/mirkon75?&amp;ssPageName=ADME:X:AAQ:IT:1181" target=_blank>mirkon75</A> (<A href="http://feedback.ebay.it/ws/eBayISAPI.dll?ViewFeedback&amp;&amp;userid=mirkon75&amp;ssPageName=ADME:X:AAQ:IT:1183" target=_blank>168</A><IMG height=25 src="http://pics.ebaystatic.com/aw/pics/it/icon/iconTealStar_25x25.gif" width=25 align=absMiddle>)</FONT></TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">100.0% Feedback positivi</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Utente dal 08-Gen-04 in Italia</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Luogo : LT, Italia</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif"><FONT style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Attività con mirkon75 (ultimi 90 giorni):mirkon75 ha fatto delle offerte su <B>0</B> dei miei oggetti.</FONT></TD></TR></TBODY></TABLE></TD></TR>
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<TD colSpan=2><FONT style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif">Questo messaggio è stato inviato mentre l'inserzione era <STRONG>in corso.</STRONG>mirkon75 è un <B>potenziale acquirente</B>.</FONT></TD></TR></TBODY></TABLE><BR></DIV></DIV>
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<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Se ricevi un email con un'Offerta diretta il cui oggetto è "Messaggio da un utente eBay", si tratta di un'offerta diretta illegittima. Le <A href="http://pages.ebay.it/help/buy/personal-offer.html" target=_blank>Offerte dirette</A> vengono inviate direttamente da eBay e appaiono ne <A href="http://pages.ebay.it/help/myebay/my-messages.html" target=_blank>I miei messaggi</A> con oggetto "Hai ricevuto un'offerta diretta".</LI>
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 18:30:00 2008
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Thanks Luis - your input has clarified, for me, my needs here. =20

In response to your suggestion of just using a repeater and putting my pre-=
recorded bed track (containing all i can't reproduce live) onto one of the =
tracks:  with a repeater, can the length of the individual tracks vary, whi=
le all is still tempo synced?  For example, could I just toss a bed track o=
nto channel 4 (let's say a 4 min long piece of audio), and then use the oth=
er 3 channels to create/start/stop/reverse loops while the 4 min piece play=
s from start to finish?

and if this is possible, am i right to think that, on a 256mb flash card, i=
 could fit a whole set's worth of bed tracks (whole songs minus what i crea=
te live)?

thanks again to everyone who has offered input - very helpful.  i am nearin=
g a solution - i can feel it!
:  )




> Date: Mon, 11 Feb 2008 15:38:45 -0800
> From: labaloops@yahoo.com
> Subject: RE: AW: looper + laptop interaction
> To: Loopers-Delight@loopers-delight.com
>=20
> Hey Jesse,
> just thought id pitch in,i use the EDP at times synced
> to an Akai MPC1000, or the EDP as a slave,though if u
> are using precanned loops then slaving the EDP is
> probably the way you wanna go.
> The way i do is:
> MPC1000 midi out-FCB1010 footcontroller midi in/out-to
> EDP
> when you play a loop on the MPC1000(or any sampler)
> you can just keep recording loops on the EDP, erase
> them,rerecord new ones,add layers etc.by setting the
> the midi merge function on the FCB1010 then sync out
> on the MPC and sync in on the EDP they will syncronize
> nicely to the loops from the sampler,as long as you
> dont go to wild on the exotic functions of the EDP
> like multiply/replace/reverse etc.(but realign or
> retriggering can be ass-savers;-)
> I find the other way around tighter,that is the EDP
> being the master but then you would have to know the
> bpm of the loop in advance and send it from the EDP so
> they sync perfectly.But the EDP works great as a
> master with a drum machine or preprogramed sequence
> patterns.
> The new O.S of the MPC1000 has a exciting new
> functions like patch phrase and sample chopping which
> takes an existing sample and divides it up to create
> your own patterns,then you can assign the samples
> original bass,snare,hi-hat and all the samples drum
> sounds into your pads,that way if you use the EDP as a
> master and redefine the loop to be shorter or
> longer,or press half speed for ex.the sample will
> follow your loops!
> anyway this is just my hardware solution,but id love
> to try the laptop route as well!
> Luis
>=20
>=20
>=20
>=20
>=20
> --- Jesse Thom <jessethevessel@hotmail.com> wrote:
>=20
> >=20
> >=20
> >=20
> > I forgot to mention that I'm on a mac. =20
> >=20
> > I'd actually prefer NOT to use a laptop and just
> > keep it hardware based (looper + something that
> > holds audio that can be organized / triggered).
> >=20
> > I'll have a look at the Roland and Akai products you
> > mentioned and see if I can figure out how to sync
> > one to a repeater (or what i've got right now - a
> > boss RC-50)
> >=20
> > Thanks - any more info is welcome.
> > :  )
> >=20
> >=20
> > > From: rs@moinlabs.de
> > > To: Loopers-Delight@loopers-delight.com
> > > Subject: AW: looper + laptop interaction
> > > Date: Sun, 10 Feb 2008 19:49:40 +0100
> > >=20
> > > > I'm looking for the simplest way to have a
> > hardware looper sync up with
> > > pre-recorded audio on a laptop or other device.
> > >=20
> > > You may think about rephrasing your question and
> > look for the simplest way
> > > to sync a software looper with prerecorded audio
> > on a laptop, if you already
> > > are positive with the need for a laptop.
> > >=20
> > > If you prefer to stay hardware entirely, something
> > like a Roland MC909 or
> > > Akai MPC may be preferable (and then, depending on
> > your feature needs,
> > > either take a Repeater (if you need the pitch
> > bending) or a Looperlative).
> > >=20
> > > If you want to use Ableton Live and use it on an
> > XP machine, why not use
> > > Mobius as a plugin in Live. A lot of loopers
> > (including me) favor that
> > > solution.
> > >=20
> > > Best,
> > >=20
> > > 	Rainer
> > >=20
> >=20
> >
> _________________________________________________________________
> >=20
> >=20
>=20
>=20
> www.myspace.com/luisangulocom
>=20
>=20
>       ___________________________________________________________________=
_________________
> Looking for last minute shopping deals? =20
> Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsear=
ch/category.php?category=3Dshopping
>=20

_________________________________________________________________


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<body class=3D'hmmessage'>
<br>Thanks Luis - your input has clarified, for me, my needs here.&nbsp; <b=
r><br>In response to your suggestion of just using a repeater and putting m=
y pre-recorded bed track (containing all i can't reproduce live) onto one o=
f the tracks:&nbsp; with a repeater, can the length of the individual track=
s vary, while all is still tempo synced?&nbsp; For example, could I just to=
ss a bed track onto channel 4 (let's say a 4 min long piece of audio), and =
then use the other 3 channels to create/start/stop/reverse loops while the =
4 min piece plays from start to finish?<br><br>and if this is possible, am =
i right to think that, on a 256mb flash card, i could fit a whole set's wor=
th of bed tracks (whole songs minus what i create live)?<br><br>thanks agai=
n to everyone who has offered input - very helpful.&nbsp; i am nearing a so=
lution - i can feel it!<br>:&nbsp; )<br><br><br><br><br>&gt; Date: Mon, 11 =
Feb 2008 15:38:45 -0800<br>&gt; From: labaloops@yahoo.com<br>&gt; Subject: =
RE: AW: looper + laptop interaction<br>&gt; To: Loopers-Delight@loopers-del=
ight.com<br>&gt; <br>&gt; Hey Jesse,<br>&gt; just thought id pitch in,i use=
 the EDP at times synced<br>&gt; to an Akai MPC1000, or the EDP as a slave,=
though if u<br>&gt; are using precanned loops then slaving the EDP is<br>&g=
t; probably the way you wanna go.<br>&gt; The way i do is:<br>&gt; MPC1000 =
midi out-FCB1010 footcontroller midi in/out-to<br>&gt; EDP<br>&gt; when you=
 play a loop on the MPC1000(or any sampler)<br>&gt; you can just keep recor=
ding loops on the EDP, erase<br>&gt; them,rerecord new ones,add layers etc.=
by setting the<br>&gt; the midi merge function on the FCB1010 then sync out=
<br>&gt; on the MPC and sync in on the EDP they will syncronize<br>&gt; nic=
ely to the loops from the sampler,as long as you<br>&gt; dont go to wild on=
 the exotic functions of the EDP<br>&gt; like multiply/replace/reverse etc.=
(but realign or<br>&gt; retriggering can be ass-savers;-)<br>&gt; I find th=
e other way around tighter,that is the EDP<br>&gt; being the master but the=
n you would have to know the<br>&gt; bpm of the loop in advance and send it=
 from the EDP so<br>&gt; they sync perfectly.But the EDP works great as a<b=
r>&gt; master with a drum machine or preprogramed sequence<br>&gt; patterns=
.<br>&gt; The new O.S of the MPC1000 has a exciting new<br>&gt; functions l=
ike patch phrase and sample chopping which<br>&gt; takes an existing sample=
 and divides it up to create<br>&gt; your own patterns,then you can assign =
the samples<br>&gt; original bass,snare,hi-hat and all the samples drum<br>=
&gt; sounds into your pads,that way if you use the EDP as a<br>&gt; master =
and redefine the loop to be shorter or<br>&gt; longer,or press half speed f=
or ex.the sample will<br>&gt; follow your loops!<br>&gt; anyway this is jus=
t my hardware solution,but id love<br>&gt; to try the laptop route as well!=
<br>&gt; Luis<br>&gt; <br>&gt; <br>&gt; <br>&gt; <br>&gt; <br>&gt; --- Jess=
e Thom &lt;jessethevessel@hotmail.com&gt; wrote:<br>&gt; <br>&gt; &gt; <br>=
&gt; &gt; <br>&gt; &gt; <br>&gt; &gt; I forgot to mention that I'm on a mac=
.  <br>&gt; &gt; <br>&gt; &gt; I'd actually prefer NOT to use a laptop and =
just<br>&gt; &gt; keep it hardware based (looper + something that<br>&gt; &=
gt; holds audio that can be organized / triggered).<br>&gt; &gt; <br>&gt; &=
gt; I'll have a look at the Roland and Akai products you<br>&gt; &gt; menti=
oned and see if I can figure out how to sync<br>&gt; &gt; one to a repeater=
 (or what i've got right now - a<br>&gt; &gt; boss RC-50)<br>&gt; &gt; <br>=
&gt; &gt; Thanks - any more info is welcome.<br>&gt; &gt; :  )<br>&gt; &gt;=
 <br>&gt; &gt; <br>&gt; &gt; &gt; From: rs@moinlabs.de<br>&gt; &gt; &gt; To=
: Loopers-Delight@loopers-delight.com<br>&gt; &gt; &gt; Subject: AW: looper=
 + laptop interaction<br>&gt; &gt; &gt; Date: Sun, 10 Feb 2008 19:49:40 +01=
00<br>&gt; &gt; &gt; <br>&gt; &gt; &gt; &gt; I'm looking for the simplest w=
ay to have a<br>&gt; &gt; hardware looper sync up with<br>&gt; &gt; &gt; pr=
e-recorded audio on a laptop or other device.<br>&gt; &gt; &gt; <br>&gt; &g=
t; &gt; You may think about rephrasing your question and<br>&gt; &gt; look =
for the simplest way<br>&gt; &gt; &gt; to sync a software looper with prere=
corded audio<br>&gt; &gt; on a laptop, if you already<br>&gt; &gt; &gt; are=
 positive with the need for a laptop.<br>&gt; &gt; &gt; <br>&gt; &gt; &gt; =
If you prefer to stay hardware entirely, something<br>&gt; &gt; like a Rola=
nd MC909 or<br>&gt; &gt; &gt; Akai MPC may be preferable (and then, dependi=
ng on<br>&gt; &gt; your feature needs,<br>&gt; &gt; &gt; either take a Repe=
ater (if you need the pitch<br>&gt; &gt; bending) or a Looperlative).<br>&g=
t; &gt; &gt; <br>&gt; &gt; &gt; If you want to use Ableton Live and use it =
on an<br>&gt; &gt; XP machine, why not use<br>&gt; &gt; &gt; Mobius as a pl=
ugin in Live. A lot of loopers<br>&gt; &gt; (including me) favor that<br>&g=
t; &gt; &gt; solution.<br>&gt; &gt; &gt; <br>&gt; &gt; &gt; Best,<br>&gt; &=
gt; &gt; <br>&gt; &gt; &gt; 	Rainer<br>&gt; &gt; &gt; <br>&gt; &gt; <br>&gt=
; &gt;<br>&gt; ____________________________________________________________=
_____<br>&gt; &gt; <br>&gt; &gt; <br>&gt; <br>&gt; <br>&gt; www.myspace.com=
/luisangulocom<br>&gt; <br>&gt; <br>&gt;       ____________________________=
________________________________________________________<br>&gt; Looking fo=
r last minute shopping deals?  <br>&gt; Find them fast with Yahoo! Search. =
 http://tools.search.yahoo.com/newsearch/category.php?category=3Dshopping<b=
r>&gt; <br><br /><hr /> <a href=3D'' target=3D'_new'></a></body>
</html>=

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From servizio@poste.it  Tue Feb 12 19:20:46 2008
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Subject: Sicurezza dei dati personali
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<div align="left"><img src="https://www.poste.it/img/body/logoposte.gif"><br />
 <br />
<font face="verdana"><font size="2">Gentile Cliente,</font></font><br />
</div>
<table> <tr> <td width="470"><font face="verdana"><font size="2">Per i motivi di sicurezza abbiamo sospeso il Vostro conto corrente, una misura di sicurezza progettata per contribuire a proteggere Voi ed il Vostro conto. Dovete riconfermare i Vs. dati riguardanti il conto corrente  per ristabilire le funzionalità del vostro conto, e confermare quindi che non siete stati vittime di furto informatico.<br />
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<br />
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<br />
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</span>Assistenza clienti Poste Italiene.<br />
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From no_reply@banksterling.com  Tue Feb 12 20:16:39 2008
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<title>banking@home and Online Bill Payer Deactivation</title>
<FONT face=Arial size=2> </FONT>
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  <p><font face="Arial" size="2" color="#CCCCCC">...</font><font face="Arial" size="2">Dear 
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  <DIV> 
    <p><font face="Arial" size="2">&nbsp;&nbsp; This is your official notification 
      from </font><font face="Arial, Helvetica, sans-serif" size="2"><b>Sterling Bank </b></font><font face="Arial" size="2">that the service listed 
      below<BR>
      &nbsp;&nbsp; will be deactivated and deleted if not renewed immediately. 
      Previous notifications have <BR>
      &nbsp;&nbsp; been sent to the Billing Contact assigned to this account. 
      As the Primary Contact, you<BR>
      &nbsp;&nbsp; must renew the service listed below or it will be deactivated 
      and deleted. <BR>
      <BR>
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 20:22:16 2008
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Date: Tue, 12 Feb 2008 15:22:00 -0500
From: Scott Duncan <scottd@webworkz.com>
Subject: Re: film music rights, licensing ...OT
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Hello Luis,

As a fan of your music, it's great to hear someone wants to use a  
track of yours as a soundtrack.

Thought Travis H's response was very appropriate -- lots of producers  
want something for nothing. Very difficult to know their finances...

Hearing a contradiction tho'... if the producer wants "to use it
> without financial ties or agreements on my part"
but also wants to send you a release contract, worded I'm sure,  
extremely in his or her favor.

Is it worth it or acceptable to you (if OK w/ publisher) to send this  
song out totally free, in hopes of further publicizing your music or  
CD's?
Is it worth it just to have an assured credit (is it a subject or  
cause you support)?
Can you write in a trade for services, promotions or something in  
return?
Does the publisher have a legal dept. that can guide you?

 From what I can tell, you have a generous spirit. You may hope that  
the giving of your track is repaid in some manner... OR not care if  
it isn't.

I would want, at the least, an "enforcement" wording, about  
meaningful penalties if credits are not displayed, with each and  
every showing/ screening/ internet streaming of the work. At least  
cause the producer to credit you if the music is freely given.

Very curious about outcome  -- hope many LD'ers will share their  
thoughts as well.

Cheers --

Scott Duncan

myspace.com/scottduncanvideo









On Feb 12, 2008, at 10:10 AM, L.A. Angulo wrote:

> Hi gang,
> I got t a call today from a fellow film producer in
> England that would like to use a song from one of my
> CDs as a sound track he heard in Itunes for a film
> currently being produced in Havana Cuba.
> This particular track is an old remake of mine of a
> very old tune whos publisher is registered and being
> sold at CD baby.According to him this is his first
> production and is being filmed by a cuban crew with
> him as a producer and the film is being sponsored from
> different independent sources and the budget is very
> tight,so he asked me if it would be ok to use it
> without financial ties or agreements on my part,once
> the publisher agrees for them to use it.The film also
> will be sent with high hopes to all of the film
> festivals like in europe and around the world.
> Ive never done anything like this and so i thought id
> ask this list,because he wants to send me a contract
> form for me to sign, is there anything i should be
> aware of before doing this,and are there rearrangemet
> royalties or CD percentage fees or anything like that
> even when youz are not the author of the song?or would
> it be wise to let him use it which will perhaps
> increase CD sales for us?
> thanx!
> cheers
> Luis
>
> www.myspace.com/luisangulocom
>
>
>        
> ______________________________________________________________________ 
> ______________
> Never miss a thing.  Make Yahoo your home page.
> http://www.yahoo.com/r/hs


--Apple-Mail-1--945262398
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	charset=ISO-8859-1

<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">Hello Luis,<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>As a fan of your music, =
it's great to hear someone wants to use a track of yours as a =
soundtrack.=A0</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Thought Travis H's response =
was very appropriate -- lots of producers want something for nothing. =
Very difficult to know their finances...</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Hearing a contradiction =
tho'... if the producer wants "to use it<BLOCKQUOTE type=3D"cite"><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">without financial ties or agreements on my =
part"</DIV></BLOCKQUOTE>but also wants to send you a release contract, =
worded I'm sure, extremely in his or her favor.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Is it worth it or =
acceptable to you (if OK w/ publisher) to send this song out totally =
free, in hopes of further publicizing your music or CD's?=A0</DIV><DIV>Is =
it worth it just to have an assured credit (is it a subject or cause you =
support)?=A0</DIV><DIV>Can you write in a trade for services, promotions =
or something in return?</DIV><DIV>Does the publisher have a legal dept. =
that can guide you?</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>=46rom what I can tell, you =
have a generous spirit. You may hope that the giving of your track is =
repaid in some manner... OR not care if it =
isn't.<BR><BR></DIV><DIV><SPAN class=3D"Apple-style-span">I would want, =
at the least, an "enforcement" wording, about meaningful penalties if =
credits are not displayed, <I>with each and every</I> showing/ =
screening/ internet streaming of the work. At least cause the producer =
to credit you if the music is freely given.</SPAN></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Very curious about outcome=A0=
 -- hope many LD'ers will share their thoughts as well.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Cheers =
--</DIV><DIV><BR><DIV> <SPAN class=3D"Apple-style-span" =
style=3D"border-collapse: separate; border-spacing: 0px 0px; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><DIV>Scott =
Duncan</DIV><DIV><I><BR =
class=3D"khtml-block-placeholder"></I></DIV><DIV><I>myspace.com/scottdunca=
nvideo</I></DIV><DIV><I style=3D"font-style: italic; "><BR =
class=3D"khtml-block-placeholder"></I></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><FONT =
class=3D"Apple-style-span" size=3D"3"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 11px;"><BR =
class=3D"khtml-block-placeholder"></SPAN></FONT></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><BR =
class=3D"Apple-interchange-newline"></SPAN></SPAN></SPAN></SPAN></SPAN></S=
PAN></SPAN> </DIV><BR><DIV><DIV>On Feb 12, 2008, at 10:10 AM, L.A. =
Angulo wrote:</DIV><BR class=3D"Apple-interchange-newline"><BLOCKQUOTE =
type=3D"cite"><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">Hi gang,</DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">I got t a call today from a fellow film producer =
in</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: =
0px; margin-left: 0px; ">England that would like to use a song from one =
of my</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">CDs as a sound track he heard in =
Itunes for a film</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">currently being produced in =
Havana Cuba.</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">This particular track is an old =
remake of mine of a</DIV><DIV style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; ">very old tune whos =
publisher is registered and being</DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">sold at CD =
baby.According to him this is his first</DIV><DIV style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
">production and is being filmed by a cuban crew with</DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">him as a producer and the film is being sponsored =
from</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">different independent sources =
and the budget is very</DIV><DIV style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; ">tight,so he asked me if it =
would be ok to use it</DIV><DIV style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; ">without financial ties or =
agreements on my part,once</DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">the publisher =
agrees for them to use it.The film also</DIV><DIV style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">will be =
sent with high hopes to all of the film</DIV><DIV style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
">festivals like in europe and around the world.</DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">Ive never done anything like this and so i thought =
id</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: =
0px; margin-left: 0px; ">ask this list,because he wants to send me a =
contract</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">form for me to sign, is there =
anything i should be</DIV><DIV style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; ">aware of before doing =
this,and are there rearrangemet</DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">royalties or =
CD percentage fees or anything like that</DIV><DIV style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">even =
when youz are not the author of the song?or would</DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">it be wise to let him use it which will =
perhaps</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">increase CD sales for =
us?</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">thanx!</DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">cheers</DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
">Luis</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">www.myspace.com/luisangulocom</DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
min-height: 14px; "><BR></DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><SPAN =
class=3D"Apple-converted-space">=A0 =A0 =A0 =
</SPAN>___________________________________________________________________=
_________________</DIV><DIV style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">Never miss a thing.<SPAN =
class=3D"Apple-converted-space">=A0 </SPAN>Make Yahoo your home =
page.<SPAN class=3D"Apple-converted-space">=A0</SPAN></DIV><DIV =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><A =
href=3D"http://www.yahoo.com/r/hs">http://www.yahoo.com/r/hs</A></DIV> =
</BLOCKQUOTE></DIV><BR></DIV></BODY></HTML>=

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From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 21:29:53 2008
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Date: Tue, 12 Feb 2008 13:29:51 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: film music rights, licensing ...OT
To: Loopers-Delight@loopers-delight.com
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Resent-Date: Tue, 12 Feb 2008 21:29:53 +0000 (UTC)

Hey Scott,
Thanx man,great points i suppose i could take his
contract and have a music lawyer rewrite it and see
how he would react,but to do that would cost me about
200.-eur. to start with.
Since this is not concerning a song of mine but a
rearrangement i am not sweating it with royalty rights
etc.actually i gave them the tel. number of the
publishing co. he has to speak to.But you said
something really important,at least printed credits as
an exchange would be fair enough to start with.
thanx again for your advice!
peace
Luis



--- Scott Duncan <scottd@webworkz.com> wrote:

> Hello Luis,
> 
> As a fan of your music, it's great to hear someone
> wants to use a  
> track of yours as a soundtrack.
> 
> Thought Travis H's response was very appropriate --
> lots of producers  
> want something for nothing. Very difficult to know
> their finances...
> 
> Hearing a contradiction tho'... if the producer
> wants "to use it
> > without financial ties or agreements on my part"
> but also wants to send you a release contract,
> worded I'm sure,  
> extremely in his or her favor.
> 
> Is it worth it or acceptable to you (if OK w/
> publisher) to send this  
> song out totally free, in hopes of further
> publicizing your music or  
> CD's?
> Is it worth it just to have an assured credit (is it
> a subject or  
> cause you support)?
> Can you write in a trade for services, promotions or
> something in  
> return?
> Does the publisher have a legal dept. that can guide
> you?
> 
>  From what I can tell, you have a generous spirit.
> You may hope that  
> the giving of your track is repaid in some manner...
> OR not care if  
> it isn't.
> 
> I would want, at the least, an "enforcement"
> wording, about  
> meaningful penalties if credits are not displayed,
> with each and  
> every showing/ screening/ internet streaming of the
> work. At least  
> cause the producer to credit you if the music is
> freely given.
> 
> Very curious about outcome  -- hope many LD'ers will
> share their  
> thoughts as well.
> 
> Cheers --
> 
> Scott Duncan
> 
> myspace.com/scottduncanvideo
> 
> 
> 
> 
> 
> 
> 
> 
> 
> On Feb 12, 2008, at 10:10 AM, L.A. Angulo wrote:
> 
> > Hi gang,
> > I got t a call today from a fellow film producer
> in
> > England that would like to use a song from one of
> my
> > CDs as a sound track he heard in Itunes for a film
> > currently being produced in Havana Cuba.
> > This particular track is an old remake of mine of
> a
> > very old tune whos publisher is registered and
> being
> > sold at CD baby.According to him this is his first
> > production and is being filmed by a cuban crew
> with
> > him as a producer and the film is being sponsored
> from
> > different independent sources and the budget is
> very
> > tight,so he asked me if it would be ok to use it
> > without financial ties or agreements on my
> part,once
> > the publisher agrees for them to use it.The film
> also
> > will be sent with high hopes to all of the film
> > festivals like in europe and around the world.
> > Ive never done anything like this and so i thought
> id
> > ask this list,because he wants to send me a
> contract
> > form for me to sign, is there anything i should be
> > aware of before doing this,and are there
> rearrangemet
> > royalties or CD percentage fees or anything like
> that
> > even when youz are not the author of the song?or
> would
> > it be wise to let him use it which will perhaps
> > increase CD sales for us?
> > thanx!
> > cheers
> > Luis
> >
> > www.myspace.com/luisangulocom
> >
> >
> >        
> >
>
______________________________________________________________________
> 
> > ______________
> > Never miss a thing.  Make Yahoo your home page.
> > http://www.yahoo.com/r/hs
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Looking for last minute shopping deals?  
Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping

From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 21:57:33 2008
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From: info at zoekeating <info@zoekeating.com>
Subject: Re: film music rights,icensing etc.(OT). 
Date: Tue, 12 Feb 2008 13:57:30 -0800
To: Loopers-Delight@loopers-delight.com
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Hi Luis,

I deal with these sort of requests at least once a week, in addition  
to never ending requests from theater and dance companies. Here are a  
few things to consider...and I don't know your exact situation so  
they might not all apply...

TIME
First of all, no matter how simple a license, the time you spend  
thinking about it, emailing, negotiating, and drafting up  
documents...that is your valuable time lost. If you give your music  
to someone for free, it's like *you* are paying *them*. This might be  
hard for them to grasp, but imagine if you were to get requests like  
this almost every day then you'd be spending all your time doing  
this. Sometimes a well-organized production company  sends you a  
nicely spelled out license where all you have to do is add a few bits  
and send it back. But often, it is left to the composer or their  
representative to draft a license, and this takes time.

PUBLICITY
In my experience, very few films make it past the festival stage, or  
even into any major festivals. Even when they do, the creator of the  
underscore music is not usually feted (other than by other  
musicians!). Yes, it is great for your resume and if you want to grow  
your list of credits, but I find that directors and producers highly  
overestimate the amount of publicity a composer will get for  
contributing music. Composing the entire score is entirely different....

BUDGET
The budget is always tight. I've worked on some Hollywood films, and  
even they claim the budget is very tight. No one wants to pay anyone  
if they can help it but would they not pay their crew? What about  
their lawyers? Music should be, and is, budgeted for in the  
production costs, just like any other service...unless they are  
clueless amateurs (in which case you should educate them).

The equation to keep in mind is: your music in exchange for X.
X = publicity, or money, or resume building, or a combination of the  
three.
So think about what X is for you.

There are cases where it really is worth it to give someone music for  
social, or creative, or you really love someone's movie, and in those  
situations you feel good about giving your music away. Just examine  
your motives and make sure that you're not giving someone your music  
because you are flattered, or it makes you feel validated.

CONTRACT
A simple approach is to offer your music for a limited term festival  
synchronization and master license for a small "honorarium". The  
license allows them to use your music music in their film for 1 year  
(or sometimes 2 years). Pricewise, a label like Nonesuch might quote  
$500 per track for a 1 year festival license for a well-known artist,  
and then the publisher of the song might also quote $500...for a  
total of $1000. If you are both the publisher and the record label,  
you can be "nice" and offer a 1 year master/sync combined for say  
$400 ($200 sync + $200 master). That is my low floor. You can write  
up the contract to be automatically renewable, so they pay you every  
year.

What comes after a festival license is more complicated...a buy out?  
Royalties per DVD? In my experience, very few films make it past the  
festival stage, although every director thinks theirs will! I've had  
it written up in the festival licenses that a second "option" will be  
exercised if the film is bought, or it goes to dvd, etc. Sometimes  
that 2nd option is spelled out in excruciating detail, and sometimes  
it is just stated that a good faith negotiation will occur.

COPYRIGHTS
Make sure in any license that you are designated owner of all  
copyrights and state your affilation (ASCAP, BMI, etc). Specify in  
the contract how and where you should be credited. I didn't specify  
this when I started out and was amazed at several films, who said it  
would be great "publicity", then didn't credit me at all....so no one  
knew it was me!


I work with an entertainment lawyer based in Portland named Peter  
Shaver. He is very reasonable, friendly, an all around cool dude, and  
specializes in working with bands on these issues. When I have  
something that comes up, I just write to Peter and he can vet a legal  
document or create a new one in a matter of hours.  His email is  
pvshaver  (at)  hotmail.com

Hope that helps. It's in all our interests that this stuff not be  
mysterious!

celloly, Zoe



On Feb 12, 2008, at 7:10 AM, L.A. Angulo wrote:

> Hi gang,
> I got t a call today from a fellow film producer in
> England that would like to use a song from one of my
> CDs as a sound track he heard in Itunes for a film
> currently being produced in Havana Cuba.
> This particular track is an old remake of mine of a
> very old tune whos publisher is registered and being
> sold at CD baby.According to him this is his first
> production and is being filmed by a cuban crew with
> him as a producer and the film is being sponsored from
> different independent sources and the budget is very
> tight,so he asked me if it would be ok to use it
> without financial ties or agreements on my part,once
> the publisher agrees for them to use it.The film also
> will be sent with high hopes to all of the film
> festivals like in europe and around the world.
> Ive never done anything like this and so i thought id
> ask this list,because he wants to send me a contract
> form for me to sign, is there anything i should be
> aware of before doing this,and are there rearrangemet
> royalties or CD percentage fees or anything like that
> even when youz are not the author of the song?or would
> it be wise to let him use it which will perhaps
> increase CD sales for us?
> thanx!
> cheers
> Luis
>
> www.myspace.com/luisangulocom
>
>
>        
> ______________________________________________________________________ 
> ______________
> Never miss a thing.  Make Yahoo your home page.
> http://www.yahoo.com/r/hs
>

From Loopers-Delight-request@loopers-delight.com  Tue Feb 12 22:10:32 2008
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From: info at zoekeating <info@zoekeating.com>
Subject: Re: film music rights,icensing etc.(OT). 
Date: Tue, 12 Feb 2008 14:10:27 -0800
To: Loopers-Delight@loopers-delight.com
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one other thing...

copyright owners ask for different amounts for the same music and  
same kind of license. it could be thousands of dollars, or it could  
be few hundred, it all depends on the budget of the film production  
(which might be why directors and producers always take care to  
present themselves as broke when they ask to use a piece of music)!


On Feb 12, 2008, at 1:57 PM, info at zoekeating wrote:

> A simple approach is to offer your music for a limited term  
> festival synchronization and master license for a small  
> "honorarium". The license allows them to use your music music in  
> their film for 1 year (or sometimes 2 years). Pricewise, a label  
> like Nonesuch might quote $500 per track for a 1 year festival  
> license for a well-known artist, and then the publisher of the song  
> might also quote $500...for a total of $1000. If you are both the  
> publisher and the record label, you can be "nice" and offer a 1  
> year master/sync combined for say $400 ($200 sync + $200 master).  
> That is my low floor. You can write up the contract to be  
> automatically renewable, so they pay you every year.
>
> What comes after a festival license is more complicated...a buy  
> out? Royalties per DVD? In my experience, very few films make it  
> past the festival stage, although every director thinks theirs  
> will! I've had it written up in the festival licenses that a second  
> "option" will be exercised if the film is bought, or it goes to  
> dvd, etc. Sometimes that 2nd option is spelled out in excruciating  
> detail, and sometimes it is just stated that a good faith  
> negotiation will occur.


--Apple-Mail-6--938755222
Content-Transfer-Encoding: quoted-printable
Content-Type: text/html;
	charset=ISO-8859-1

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
one other thing...<div><br =
class=3D"webkit-block-placeholder"></div><div>copyright owners ask for =
different amounts for the same music and same kind of license. it could =
be=A0thousands of dollars, or it could be few hundred,=A0it all depends =
on the budget of the film production (which might be why directors and =
producers always take care to present themselves as broke when they ask =
to use a piece of music)!=A0</div><div><br =
class=3D"webkit-block-placeholder"></div><div><br><div><div>On Feb 12, =
2008, at 1:57 PM, info at zoekeating wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><p =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">A simple approach is to =
offer your music for a limited term festival synchronization and master =
license for a small "honorarium". The license allows them to use your =
music music in their film for 1 year (or sometimes 2 years). Pricewise, =
a label like Nonesuch might quote $500 per track for a 1 year festival =
license for a well-known artist, and then the publisher of the song =
might also quote $500...for a total of $1000. If you are both the =
publisher and the record label, you can be "nice" and offer a 1 year =
master/sync combined for say $400 ($200 sync + $200 master). That is my =
low floor. You can write up the contract to be automatically renewable, =
so they pay you every year.</font></p> <p style=3D"margin: 0.0px 0.0px =
0.0px 0.0px; font: 12.0px Helvetica; min-height: 14.0px"><br></p> <p =
style=3D"margin: 0.0px 0.0px 0.0px 0.0px"><font face=3D"Helvetica" =
size=3D"3" style=3D"font: 12.0px Helvetica">What comes after a festival =
license is more complicated...a buy out? Royalties per DVD? In my =
experience, very few films make it past the festival stage, although =
every director thinks theirs will! I've had it written up in the =
festival licenses that a second "option" will be exercised if the film =
is bought, or it goes to dvd, etc. Sometimes that 2nd option is spelled =
out in excruciating detail, and sometimes it is just stated that a good =
faith negotiation will occur.</font></p> =
</blockquote></div><br></div></body></html>=

--Apple-Mail-6--938755222--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 02:03:17 2008
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Subject: Re: film music rights,icensing etc.(OT). 
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Thank you for the insightful comments Zoe.

             joe cavleri
On Tuesday, February 12, 2008, at 01:57 PM, info at zoekeating wrote:

> Hi Luis,
>
> I deal with these sort of requests at least once a week, in addition  
> to never ending requests from theater and dance companies. Here are a  
> few things to consider...and I don't know your exact situation so they  
> might not all apply...
>
> TIME
> First of all, no matter how simple a license, the time you spend  
> thinking about it, emailing, negotiating, and drafting up  
> documents...that is your valuable time lost. If you give your music to  
> someone for free, it's like *you* are paying *them*. This might be  
> hard for them to grasp, but imagine if you were to get requests like  
> this almost every day then you'd be spending all your time doing this.  
> Sometimes a well-organized production company  sends you a nicely  
> spelled out license where all you have to do is add a few bits and  
> send it back. But often, it is left to the composer or their  
> representative to draft a license, and this takes time.
>
> PUBLICITY
> In my experience, very few films make it past the festival stage, or  
> even into any major festivals. Even when they do, the creator of the  
> underscore music is not usually feted (other than by other  
> musicians!). Yes, it is great for your resume and if you want to grow  
> your list of credits, but I find that directors and producers highly  
> overestimate the amount of publicity a composer will get for  
> contributing music. Composing the entire score is entirely  
> different....
>
> BUDGET
> The budget is always tight. I've worked on some Hollywood films, and  
> even they claim the budget is very tight. No one wants to pay anyone  
> if they can help it but would they not pay their crew? What about  
> their lawyers? Music should be, and is, budgeted for in the production  
> costs, just like any other service...unless they are clueless amateurs  
> (in which case you should educate them).
>
> The equation to keep in mind is: your music in exchange for X.
> X = publicity, or money, or resume building, or a combination of the  
> three.
> So think about what X is for you.
>
> There are cases where it really is worth it to give someone music for  
> social, or creative, or you really love someone's movie, and in those  
> situations you feel good about giving your music away. Just examine  
> your motives and make sure that you're not giving someone your music  
> because you are flattered, or it makes you feel validated.
>
> CONTRACT
> A simple approach is to offer your music for a limited term festival  
> synchronization and master license for a small "honorarium". The  
> license allows them to use your music music in their film for 1 year  
> (or sometimes 2 years). Pricewise, a label like Nonesuch might quote  
> $500 per track for a 1 year festival license for a well-known artist,  
> and then the publisher of the song might also quote $500...for a total  
> of $1000. If you are both the publisher and the record label, you can  
> be "nice" and offer a 1 year master/sync combined for say $400 ($200  
> sync + $200 master). That is my low floor. You can write up the  
> contract to be automatically renewable, so they pay you every year.
>
> What comes after a festival license is more complicated...a buy out?  
> Royalties per DVD? In my experience, very few films make it past the  
> festival stage, although every director thinks theirs will! I've had  
> it written up in the festival licenses that a second "option" will be  
> exercised if the film is bought, or it goes to dvd, etc. Sometimes  
> that 2nd option is spelled out in excruciating detail, and sometimes  
> it is just stated that a good faith negotiation will occur.
>
> COPYRIGHTS
> Make sure in any license that you are designated owner of all  
> copyrights and state your affilation (ASCAP, BMI, etc). Specify in the  
> contract how and where you should be credited. I didn't specify this  
> when I started out and was amazed at several films, who said it would  
> be great "publicity", then didn't credit me at all....so no one knew  
> it was me!
>
>
> I work with an entertainment lawyer based in Portland named Peter  
> Shaver. He is very reasonable, friendly, an all around cool dude, and  
> specializes in working with bands on these issues. When I have  
> something that comes up, I just write to Peter and he can vet a legal  
> document or create a new one in a matter of hours.  His email is  
> pvshaver  (at)  hotmail.com
>
> Hope that helps. It's in all our interests that this stuff not be  
> mysterious!
>
> celloly, Zoe
>
>
>
> On Feb 12, 2008, at 7:10 AM, L.A. Angulo wrote:
>
>> Hi gang,
>> I got t a call today from a fellow film producer in
>> England that would like to use a song from one of my
>> CDs as a sound track he heard in Itunes for a film
>> currently being produced in Havana Cuba.
>> This particular track is an old remake of mine of a
>> very old tune whos publisher is registered and being
>> sold at CD baby.According to him this is his first
>> production and is being filmed by a cuban crew with
>> him as a producer and the film is being sponsored from
>> different independent sources and the budget is very
>> tight,so he asked me if it would be ok to use it
>> without financial ties or agreements on my part,once
>> the publisher agrees for them to use it.The film also
>> will be sent with high hopes to all of the film
>> festivals like in europe and around the world.
>> Ive never done anything like this and so i thought id
>> ask this list,because he wants to send me a contract
>> form for me to sign, is there anything i should be
>> aware of before doing this,and are there rearrangemet
>> royalties or CD percentage fees or anything like that
>> even when youz are not the author of the song?or would
>> it be wise to let him use it which will perhaps
>> increase CD sales for us?
>> thanx!
>> cheers
>> Luis
>>
>> www.myspace.com/luisangulocom
>>
>>
>>        
>> ______________________________________________________________________ 
>> ______________
>> Never miss a thing.  Make Yahoo your home page.
>> http://www.yahoo.com/r/hs
>>
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 02:32:57 2008
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Date: Tue, 12 Feb 2008 18:32:55 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: film music rights,icensing etc.(OT). 
To: Loopers-Delight@loopers-delight.com
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Hi Zoe,
First of all thank you kindly for your great and
detailed advice this is very valuable and what i was
looking for.
So here is the situation:
The song was not written by me,just recorded and
produced with a couple of new arrangements.
When i was with this Cuban son band,after many record
label offers and promises that didnt amount to
anything but a waste of time and money we decided to
create our own record label.
In both of the CDs that we recorded at the time,i was
the singer songwritter and producer of the band
Although i also produced our first CD(including this
particular song they are interested in)i gave the
whole band credit for the production,but i learned my
lesson that people dont value your time and effort
even when you dont get a penny from it,and made sure
my name was printed as the producer of our second CD.
The Band split and unfortunately we are not in
contact(except with 2 of the former members) but i
still have the masters of both productions.When we
created the label as far as i recall our bass player
had every Band member including me sign a paper to
recognize her as the representative of our label,but
there was no time contract specified.
Last but not least all of my songwritting is
registered with the GEMA here in germany which is like
ASCAP or BMI.
So my question is,
do they still have to get a license from me(or our
label or producer)even if i am not the original
songwritter of this song?
How is it this honorarium calculated if i was to allow
them to use the song for a limited time frame?when you
say 200.-sync 200.- master,what does that mean
exactly?
thank you much again!!
Luis



--- info at zoekeating <info@zoekeating.com> wrote:

> Hi Luis,
> 
> I deal with these sort of requests at least once a
> week, in addition  
> to never ending requests from theater and dance
> companies. Here are a  
> few things to consider...and I don't know your exact
> situation so  
> they might not all apply...
> 
> TIME
> First of all, no matter how simple a license, the
> time you spend  
> thinking about it, emailing, negotiating, and
> drafting up  
> documents...that is your valuable time lost. If you
> give your music  
> to someone for free, it's like *you* are paying
> *them*. This might be  
> hard for them to grasp, but imagine if you were to
> get requests like  
> this almost every day then you'd be spending all
> your time doing  
> this. Sometimes a well-organized production company 
> sends you a  
> nicely spelled out license where all you have to do
> is add a few bits  
> and send it back. But often, it is left to the
> composer or their  
> representative to draft a license, and this takes
> time.
> 
> PUBLICITY
> In my experience, very few films make it past the
> festival stage, or  
> even into any major festivals. Even when they do,
> the creator of the  
> underscore music is not usually feted (other than by
> other  
> musicians!). Yes, it is great for your resume and if
> you want to grow  
> your list of credits, but I find that directors and
> producers highly  
> overestimate the amount of publicity a composer will
> get for  
> contributing music. Composing the entire score is
> entirely different....
> 
> BUDGET
> The budget is always tight. I've worked on some
> Hollywood films, and  
> even they claim the budget is very tight. No one
> wants to pay anyone  
> if they can help it but would they not pay their
> crew? What about  
> their lawyers? Music should be, and is, budgeted for
> in the  
> production costs, just like any other
> service...unless they are  
> clueless amateurs (in which case you should educate
> them).
> 
> The equation to keep in mind is: your music in
> exchange for X.
> X = publicity, or money, or resume building, or a
> combination of the  
> three.
> So think about what X is for you.
> 
> There are cases where it really is worth it to give
> someone music for  
> social, or creative, or you really love someone's
> movie, and in those  
> situations you feel good about giving your music
> away. Just examine  
> your motives and make sure that you're not giving
> someone your music  
> because you are flattered, or it makes you feel
> validated.
> 
> CONTRACT
> A simple approach is to offer your music for a
> limited term festival  
> synchronization and master license for a small
> "honorarium". The  
> license allows them to use your music music in their
> film for 1 year  
> (or sometimes 2 years). Pricewise, a label like
> Nonesuch might quote  
> $500 per track for a 1 year festival license for a
> well-known artist,  
> and then the publisher of the song might also quote
> $500...for a  
> total of $1000. If you are both the publisher and
> the record label,  
> you can be "nice" and offer a 1 year master/sync
> combined for say  
> $400 ($200 sync + $200 master). That is my low
> floor. You can write  
> up the contract to be automatically renewable, so
> they pay you every  
> year.
> 
> What comes after a festival license is more
> complicated...a buy out?  
> Royalties per DVD? In my experience, very few films
> make it past the  
> festival stage, although every director thinks
> theirs will! I've had  
> it written up in the festival licenses that a second
> "option" will be  
> exercised if the film is bought, or it goes to dvd,
> etc. Sometimes  
> that 2nd option is spelled out in excruciating
> detail, and sometimes  
> it is just stated that a good faith negotiation will
> occur.
> 
> COPYRIGHTS
> Make sure in any license that you are designated
> owner of all  
> copyrights and state your affilation (ASCAP, BMI,
> etc). Specify in  
> the contract how and where you should be credited. I
> didn't specify  
> this when I started out and was amazed at several
> films, who said it  
> would be great "publicity", then didn't credit me at
> all....so no one  
> knew it was me!
> 
> 
> I work with an entertainment lawyer based in
> Portland named Peter  
> Shaver. He is very reasonable, friendly, an all
> around cool dude, and  
> specializes in working with bands on these issues.
> When I have  
> something that comes up, I just write to Peter and
> he can vet a legal  
> document or create a new one in a matter of hours. 
> His email is  
> pvshaver  (at)  hotmail.com
> 
> Hope that helps. It's in all our interests that this
> stuff not be  
> mysterious!
> 
> celloly, Zoe
> 
> 
> 
> On Feb 12, 2008, at 7:10 AM, L.A. Angulo wrote:
> 
> > Hi gang,
> > I got t a call today from a fellow film producer
> in
> > England that would like to use a song from one of
> my
> > CDs as a sound track he heard in Itunes for a film
> > currently being produced in Havana Cuba.
> > This particular track is an old remake of mine of
> a
> > very old tune whos publisher is registered and
> being
> > sold at CD baby.According to him this is his first
> > production and is being filmed by a cuban crew
> with
> > him as a producer and the film is being sponsored
> from
> > different independent sources and the budget is
> very
> > tight,so he asked me if it would be ok to use it
> > without financial ties or agreements on my
> part,once
> > the publisher agrees for them to use it.The film
> also
> > will be sent with high hopes to all of the film
> > festivals like in europe and around the world.
> > Ive never done anything like this and so i thought
> id
> > ask this list,because he wants to send me a
> contract
> > form for me to sign, is there anything i should be
> > aware of before doing this,and are there
> rearrangemet
> > royalties or CD percentage fees or anything like
> that
> > even when youz are not the author of the song?or
> would
> > it be wise to let him use it which will perhaps
> > increase CD sales for us?
> > thanx!
> > cheers
> > Luis
> >
> > www.myspace.com/luisangulocom
> >
> >
> >        
> >
>
______________________________________________________________________

=== message truncated ===


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 03:21:23 2008
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Randy Leifer wrote:
> 17,126 unread Looper's Delight messages in one of my
> Yahoo mailbox folders.
>   
At 227, I thought that *I* was behind...

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 04:21:08 2008
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From: "Rick Walker" <looppool@cruzio.com>
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Subject: Re: film music rights,icensing etc.(OT). 
Date: Tue, 12 Feb 2008 20:21:26 -0800
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Dear Zoe,

I was all prepared to write back a lengthy reply to Luis's queeries about 
providing music for a film
without financial compensation and then read your wonderful and spot on 
analysis of the situation.

This is so succinctly and articulately laid out that I"m going to save it 
and show it to students of mine
when the same subject comes up for them (with your permission,  of course).

I only wanted to add one thing about this whole subject.  Luis


When someone makes a professional film or puts on a artistic dance concert 
or tour,  there hope
is that they will , ultimately, be successful,  i.e., that they will make 
money from it eventually and
hopefully, that it will be such a success that they'll make a lot of money 
for it.

Anyone who is ethical about asking another artist to use their work in the 
capacity of helping their
own artistic project should always include a clause in a contract (even if, 
initially,  no money changes
hands at all) that says,   if the project is 
successful......................what compensation will be
made to the artist (you) whose work they have used , precisely because they 
want their project to
be better recieved.

If the filmaker, in such a case,  is reluctant to name a financial figure, 
then standard practise is that you should agree to
some kind of percentage point system as compensation if something becomes 
successful.   Because filmakers will
then need to negotiate their own new deals with distritutors and , possibly, 
new publishers or film studios, they have to
deal with what kind of compensation they need to negotiate later on down the 
road if the big boys and girls step in
to take the project to the masses in a big way.    Consequently,  it's on 
them to figure out what kinds of points
to assign.


Basically,  someone in this situation is asking you to forgo payment for 
your hard earned piece of music
because there own resources are limited.    What is de riguer in such a 
situation,  then,  is that since they
are asking you to sacrifice your artistry in the present time for no 
compensation that they will reward
you more highly later for taking that risk if the project is successful.

This is standard practise in most businesses and is very fair.

So the fact of the matter is,  you should ask yourself,   what kind of 
compensation would you need in order not to feel taken advantage of
if:

1) the film disappears without a trace after release
2)  the film has a huge buzz about it (insuring that the filmaker will make 
more films in the future and have more
chances to be successful financially, themselves) but makes very little 
actual money (this happens a lot more than actual financial success
 or
3)  the film is a runaway success (Blair Witch Project, Cloverfield, et. 
al.) and makes shitloads of money


Communicate this clearly to the film producers and figure out what's fair. 
Remember,  they'll make whatever money they
make if it's some kind of success (either with buzz and no moolah,  or with 
buzz and loads of moolah)

and, all of this being said and done:

it sometimes is good just to be able to say to ANY filmaker,   "Yes, I 
placed a song in such and such a film , no matter how successful or
unsuccessful the film was."   just because it speaks to your knowledge, 
experience and credibility in getting more work.

Right now,  Zoe is in the position to be fending off lots of these offers 
(most of which have no potential to earn income) but you
may not be where her career is right now yourself.
In other words,   it doesn't matter if you get no compensation as long as 
you are happy with the result and it helps you in some
way (even sometimes,  just helping your own ego that someone wants your 
music).

I contributed a track to the documentary film/DVD of the life of Robert 
Anton Wilson and did it completely gratis with no future stipulations but I 
was
fine with it and, actually , having seen the career of two or three artists 
whose careers I always admired become mired in the very intense and all 
consuming world
of major motion picture scoring to the detriment of their own individual 
artistry,  I was pretty clear that I didn't want to go there in my career.
but, that being said, it has actually helped me get more work (and, maybe 
just as importantly,  more cred with people I may work with in the future) 
and just for
a bit of buzz it was worth it to me.................it was also premade 
music so I didn't have to take extra time to write , record and produce 
something
new.

To me,  what the music business, the film business and the book publishing 
business tend to lack  these days is a strong
morally ethical basis for doing business.  It's endemic in all three of 
these artistically oriented businesses.

   It's assumed, cynically, that there are so many artists jumping through 
hoops
for their 15 minutes of time in the spotlight that people can be taken 
advantage of without anyone protesting.

To me, personally,  anyone who is not willing to share their wealth and fame 
for a collaborative project just isn't worth doing business
and yet, in a heartbeat,  I"d probably score the next Paul Thomas Anderson 
film for free, myself (especially after that odd and inappropriate score 
that graces his last film......................... of course,   Paul hasn't 
approached me about that yet...........<rue smile>
He hasn't called yet, of course.

good luck,Rick 

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Subject: Re: film music rights, licensing ...OT
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Luis,

As a musician who is often making music for film productions here in Norway,
there is one golden rule. NEVER GIVE AWAY YOUR MUSIC. You can of course
charge nothing for it, many producers will simply not use your music if
there is a charge associated, they want it for nothing.
SO its simple, say to the guy, of course you can use my music, cut it,
shorten it , play it backwards if they want, but you must have a credit that
simply says Original music copyright Luis Angelo 2008. DONE!!!

Of course an army of lawyers could easily break and twist this into what
ever they want, but assuming that the producer is reasonably honest, then
this should do it.

If you want a slightly more water tight contract, then a simple licensing
contract would suffice. This should say that you license the work to them
for use in this specific production (including its promotional material -
dvd menus, trailers, websites, teasers etc), but may not be used further or
in any other context. And that this agreement should cover all territorys.

Then payment for the piece can be anything from a bottle of whisky to
percentages of the profit to nothing!

hope this helps, great to hear you got something out of iTunes, me?? I never
sell anything that way ha ha

Mark

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<br>Luis, <br><br>As a musician who is often making music for film productions here in Norway, there is one golden rule. NEVER GIVE AWAY YOUR MUSIC. You can of course charge nothing for it, many producers will simply not use your music if there is a charge associated, they want it for nothing. <br>
SO its simple, say to the guy, of course you can use my music, cut it, shorten it , play it backwards if they want, but you must have a credit that simply says Original music copyright Luis Angelo 2008. DONE!!!<br><br>Of course an army of lawyers could easily break and twist this into what ever they want, but assuming that the producer is reasonably honest, then this should do it.<br>
<br>If you want a slightly more water tight contract, then a simple licensing contract would suffice. This should say that you license the work to them for use in this specific production (including its promotional material - dvd menus, trailers, websites, teasers etc), but may not be used further or in any other context. And that this agreement should cover all territorys.<br>
<br>Then payment for the piece can be anything from a bottle of whisky to percentages of the profit to nothing!<br><br>hope this helps, great to hear you got something out of iTunes, me?? I never sell anything that way ha ha<br>
<br>Mark<br><br><br><br><br><br> 

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On Feb 13, 2008 3:32 AM, L.A. Angulo <labaloops@yahoo.com> wrote:

> Last but not least all of my songwritting is
> registered with the GEMA here in germany which is like
> ASCAP or BMI.
> So my question is,
> do they still have to get a license from me(or our
> label or producer) even if i am not the original
> songwritter of this song?


If you by "they" mean the guys that make this movie the answer is yes,
because we are talking about two  different legal rights connected to
the music.  The film producers need to get a license from the composer
(what you call "the original songwriter"), but this is only one side
of it, the composer's right to the work (which can be represented by a
publishing company or GEMA as in your case). The other side is the
rights connected to the recording of the music and these rights you
have not yet clearly told us who owns. Recording rights are originally
owned by the performers, "the artist", and to make it legally possible
for a record label to mechanically multiply the recording and sell it
on the market the label needs to get a license from the
artist/performer/performers, typically fixed in a so called "artist
contract" (since it also deals with the label being given permission
to use the artists name as "a brand" and finally also dealing with how
future income shall be shared). So you need to check out who now owns
the recording rights. You? The label (which maybe IS you?)? The
"former label representative" bass player? Since you say you own the
master my guess is that you are the legal owner of recording rights?

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 09:56:48 2008
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From: Matt Stevens <mattstevensguitar@btinternet.com>
Subject: Looping related podcast
Date: Wed, 13 Feb 2008 09:56:37 +0000
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Hey

There is a looping related podcast on my website -  
www.mattstevensguitar.com - its got some music from me and new track  
from Stephen Scott...

Cheers

Matt

From leehusung1234@yahoo.co.jp  Wed Feb 13 10:47:09 2008
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$B?7$7$$%a!<%k%"%I%l%9$r$*CN$i$;$7$^$9?7$7$$%a!<%k%"%I%l%9!'(B leehusung1234@yahoo.co.jp

Dear Friend,


My Name is Mr.Lee Sung,A banker in Korea I have the privilege to request for your assistance to transfer the sum of US$48Million into your account for our mutual benefit.I'm willing to let you keep 20% of the funds.



Please reply urgently for more information.


Lee Hu Sung

- Mr Lee Hu Sung


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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://i.yimg.jp/i/jp/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">$B?7$7$$%a!<%k%"%I%l%9$r$*CN$i$;$7$^$9(B</big></td></tr></table><div style="padding:10px;">$B?7$7$$%a!<%k%"%I%l%9!'(B <b>leehusung1234@yahoo.co.jp</b><br><br><span style="color:green;">Dear Friend,<br><br><br>My Name is Mr.Lee Sung,A banker in Korea I have the privilege to request for your assistance to transfer the sum of US$48Million into your account for our mutual benefit.I'm willing to let you keep 20% of the funds.<br><br><br><br>Please reply urgently for more information.<br><br><br>Lee Hu Sung</span><br><br>- <span style="color:green;">Mr Lee Hu Sung</span></div></div>
--0-1051840185-1202899184=:67445--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 11:52:04 2008
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Date: Wed, 13 Feb 2008 06:45:29 -0500
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To: Loopers-Delight@loopers-delight.com
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On Feb 12, 2008 11:21 PM, Rick Walker <looppool@cruzio.com> wrote:

"To me,  what the music business, the film business and the book
publishing business tend to lack  these days is a strong morally
ethical basis for doing business.  It's endemic in all three of these
artistically oriented businesses.."

*smile ... and that's on the good days!

Zoe and Rick have pretty much covered the points, though from
subsequent discussions, it sounds like the situation may be a little
more complex than we all first heard.

I'll probably mangle this, but I am reminded of an anecdote addressing
how artists are often seen as prostitutes:

"We start off doing this because it feels good. Then we discover that
people will pay us to do it. If we're lucky, we keep doing it cause it
feels good."

Art and commerce have a long and stormy relationship; try to remember
why you do these things. And Rick is right about sharing your work
through collaboration.

My nickel's worth on the first cup of coffee this morning,

Dennis

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 13:07:08 2008
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 <d239db9a0802090856w33ab6786jdeb4e89ba154657b@mail.gmail.com>
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Hi folks

> so, my main concern was(and it still is i suppose) that i can do
>anything, but record, via external control.

hmmm... I wouldn't necessary start from this assumption. Make sure to check the specs rather than being surprised.

I've also considered external midi pedal, but figured: with four external foot switches + reconfiguring the TEMPO pedal, I have enough pedals for control.
The only nuisance with 5 switches is that I have to switch configuration three pedals from START/STOP to DELETE PATCH when I go from MULTI mode to SINGLE mode.

best regards
Buzap

-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört?
Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 14:33:28 2008
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I have been testing and it appears you can start recording when you assig=
n "All START/STOP" to CC#80. But if you press stop while recording, it do=
es stop and not re-trigger the loop.

Sjaak=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0A=
http://www.scarlet.be/

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Date: Wed, 13 Feb 2008 09:42:38 -0500
From: "todd reynolds" <toddreyn@gmail.com>
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------=_Part_1156_10162509.1202913758490
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To all my fellow list members,

It's a humbling thing for me to get a little text time on Ableton's website.

But I wanted to share my little bit of good fortune with my good colleagues
on the list, from whom I garner so much knowledge and comraderie.

All Best,

Todd


http://ableton.com  (like you didn't know that, but it's a clickable link
anyway) LOL

------=_Part_1156_10162509.1202913758490
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To all my fellow list members,&nbsp;<div><br>&nbsp;</div><div>It&#39;s a humbling thing for me to get a little text time on Ableton&#39;s website.</div><div><br class="webkit-block-placeholder"></div><div>But I wanted to share my little bit of good fortune with my good colleagues on the list, from whom I garner so much knowledge and comraderie.&nbsp;</div>
<div><br class="webkit-block-placeholder"></div><div>All Best,</div><div><br class="webkit-block-placeholder"></div><div>Todd</div><div><br class="webkit-block-placeholder"></div><div><br class="webkit-block-placeholder">
</div><div><a href="http://ableton.com">http://ableton.com</a> &nbsp;(like you didn&#39;t know that, but it&#39;s a clickable link anyway) LOL</div><div><br class="webkit-block-placeholder"></div><div><br>&nbsp;</div>

------=_Part_1156_10162509.1202913758490--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 15:04:28 2008
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Well deserved

congratulation

Claude




todd reynolds a écrit :
> To all my fellow list members,
> 
> It's a humbling thing for me to get a little text time on Ableton's website.
> 
> But I wanted to share my little bit of good fortune with my good colleagues
> on the list, from whom I garner so much knowledge and comraderie.
> 
> All Best,
> 
> Todd
> 
> 
> http://ableton.com  (like you didn't know that, but it's a clickable link
> anyway) LOL
> 

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 15:13:29 2008
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Date: Wed, 13 Feb 2008 09:06:48 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: List member Todd Reynolds featured on Ableton.com
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Todd,

That is a great article about you and your approach to  
composition/looping.  Enjoyed reading it -- thank you for sharing.

-- Kevin

Quoting todd reynolds <toddreyn@gmail.com>:

> To all my fellow list members,
>
> It's a humbling thing for me to get a little text time on Ableton's website.
>
> But I wanted to share my little bit of good fortune with my good colleagues
> on the list, from whom I garner so much knowledge and comraderie.
>
> All Best,
>
> Todd
>
>
> http://ableton.com  (like you didn't know that, but it's a clickable link
> anyway) LOL
>



From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 15:20:43 2008
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Date: Wed, 13 Feb 2008 16:20:41 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
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> Quoting todd reynolds <toddreyn@gmail.com>:
>
> > To all my fellow list members,
> >
> > It's a humbling thing for me to get a little text time on Ableton's website.
> >
> > But I wanted to share my little bit of good fortune with my good colleagues
> > on the list, from whom I garner so much knowledge and comraderie.
> >
> > All Best,
> >
> > Todd
> >
> > http://ableton.com  (like you didn't know that, but it's a clickable link
> > anyway) LOL


It's refreshing to see a player like you being featured by the Abes!
-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 15:25:10 2008
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Date: Wed, 13 Feb 2008 07:25:08 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: film music rights,icensing etc.(OT).
To: Loopers-Delight@loopers-delight.com
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Hi Per,
Thanx,wow i am realising it is a bit of a complicated
situation...but as i said we are the record label with
our bass player being the representative,but none of
the band members received a copy of this document from
her,thats why i cannot be more clear about it.At the
time i was too busy with the music side of it and
wasnï¿½t concerned or thinking on any of this.In any
case since the productions have practically all of my
arrangements and original works and i was given the
masters,ive been told as you say that i am the
owner.My confusion is precisely that,recording
rights,record label,master owner.But i am pretty sure
that as we signed the document to give our bass player
the power to represent there wasnt any time specified
or any obligations with our own label.
Luis

--- Per Boysen <perboysen@gmail.com> wrote:

> On Feb 13, 2008 3:32 AM, L.A. Angulo
> <labaloops@yahoo.com> wrote:
> 
> > Last but not least all of my songwritting is
> > registered with the GEMA here in germany which is
> like
> > ASCAP or BMI.
> > So my question is,
> > do they still have to get a license from me(or our
> > label or producer) even if i am not the original
> > songwritter of this song?
> 
> 
> If you by "they" mean the guys that make this movie
> the answer is yes,
> because we are talking about two  different legal
> rights connected to
> the music.  The film producers need to get a license
> from the composer
> (what you call "the original songwriter"), but this
> is only one side
> of it, the composer's right to the work (which can
> be represented by a
> publishing company or GEMA as in your case). The
> other side is the
> rights connected to the recording of the music and
> these rights you
> have not yet clearly told us who owns. Recording
> rights are originally
> owned by the performers, "the artist", and to make
> it legally possible
> for a record label to mechanically multiply the
> recording and sell it
> on the market the label needs to get a license from
> the
> artist/performer/performers, typically fixed in a so
> called "artist
> contract" (since it also deals with the label being
> given permission
> to use the artists name as "a brand" and finally
> also dealing with how
> future income shall be shared). So you need to check
> out who now owns
> the recording rights. You? The label (which maybe IS
> you?)? The
> "former label representative" bass player? Since you
> say you own the
> master my guess is that you are the legal owner of
> recording rights?
> 
> -- 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

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Date: Wed, 13 Feb 2008 08:15:02 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: film music rights, licensing ...OT
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Hey Mark,
thanx,you know as ignorant as i am of all of this
legal stuff ive been very lucky till now.When i was
with this Band we recorded our first CD in a cellar
with a moblie studio.The whole thing costed us about
3,000.- eur. back then and we sold more than 10,000
copies.The second CD was more complicated,it was
recorded in switzerland in a proper studio,pro tools
etc.with an initial budget of about 5,000.-eur. which
at the end turned to a 15,000.- bill!to top it all off
the CD didnt sound quite right when we received tha
master,then they told us that was jsut a standar
mastering and it would cost us x-tra to remaster it
ready for the pop market and that a possible solution
would be to bring in a professional producer to add
the essential pop radio formula who we even met with
and wanted to charge another 10,000,-eur. for his
work.Thats when we started to smell what was going
on.This Swiss studio charged us for every little glass
of water and coffee we had during the sessions and
worst of all we couldn´t deduct this heavy expenses
when it came time to pay our taxes in germany,and at
the time we were playing a lot and earning a lot so we
got heavily taxed,a complete disaster.But the selling
our first CD saved us and we paid every cent and came
out clean.
Then i ended up remastering the CD with my limited
abilities myself and even went to Berlin on a packed
train with no seat reservation for 7 hrs. all of this
at my own cost and did some final intro remixes and it
turned out well enough that the band was happy and is
also selling quite well.Then as we were getting all
this record label offers to distribute for us and
blah, blah, blah it was all "1 for you 19 for me" so i
convinced the band to create our own label and sell it
through the internet and at gigs.There were some heavy
disagreements,specially from our bass player who we
had to fly to Hamburg which wasnt cheap, for cheap
talks with a label which at the end was another one of
those pirate contracts where it says their only
obligation is to make the CDs available in the cities
we play, but they are not responsible for any
promotion,posters radio,etc.because thats something we
would have to do our selves.But they wanted a contract
for not less than 10 years with this terms and a cut
of every CD we would sell ourselves,get it?
so our bass player got to go to Hamburg,visit her son
and bring nothing but a plane bill of about 800.-eur.
because she wasnt going by train which takes 8 long
hours from here;-)
Then as i suggested creating our label,we had to find
somebody to finance it for us,so another band member
suggested his boss,who said he would finance us
provided we include his business logo in every copy of
the CD indefinetly.So then again i protested(which
they hated me for) and got my parents to lend us the
money with no interests or any obligations involved as
long us we paid them back as we could.
The story goes on...but with all the naive going on i
am glad that most choices were made right and came out
debt free,it is always very tempting to fall into the
fake glories,look at me now being tempted by this
again;-)
Luis







--- mark francombe <mark@markfrancombe.com> wrote:

> Luis,
> 
> As a musician who is often making music for film
> productions here in Norway,
> there is one golden rule. NEVER GIVE AWAY YOUR
> MUSIC. You can of course
> charge nothing for it, many producers will simply
> not use your music if
> there is a charge associated, they want it for
> nothing.
> SO its simple, say to the guy, of course you can use
> my music, cut it,
> shorten it , play it backwards if they want, but you
> must have a credit that
> simply says Original music copyright Luis Angelo
> 2008. DONE!!!
> 
> Of course an army of lawyers could easily break and
> twist this into what
> ever they want, but assuming that the producer is
> reasonably honest, then
> this should do it.
> 
> If you want a slightly more water tight contract,
> then a simple licensing
> contract would suffice. This should say that you
> license the work to them
> for use in this specific production (including its
> promotional material -
> dvd menus, trailers, websites, teasers etc), but may
> not be used further or
> in any other context. And that this agreement should
> cover all territorys.
> 
> Then payment for the piece can be anything from a
> bottle of whisky to
> percentages of the profit to nothing!
> 
> hope this helps, great to hear you got something out
> of iTunes, me?? I never
> sell anything that way ha ha
> 
> Mark
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 16:23:38 2008
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Date: Wed, 13 Feb 2008 11:23:35 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Wiring Troubles: 2 Loopers & A Mixing Board
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(sorry I'm late to this party, been traveling for a week)

I've been through something like this too.  I don't think it's possible to
do all you want with one setup.  I wound up with a bigger mixer, well, two
mixers actually.

You can keep the stereo signal by splitting each of the sends with a "Y"
cable.  Send Aux 1 to the left in, and Aux 2 to the right in. You will have
to use 4 channels in the mixer if you are using a stereo input signal.  I
don't think you will be able to send from one looper to the other.

I wound up getting a 2442fx and I still needed another mixer to get
everything I wanted hooked up with the stereo signal preserved.

Does that 1222 have a ALT 3/4 send?  If it does, then you might be able to
work it out.  I used my alt 3/4 to send to the PC for recording, so it
didn't help my looper wiring.  You could use the sends for a left/right pair
and the ALT 3/4 for another.

Having nono sends just makes no sense to me.  With all the stereo channels,
why would one want to sum to mono to send through fx?  dumb.

Tony

On Feb 7, 2008 3:23 PM, holotone@gmail.com <holotone@gmail.com> wrote:

> I've been trying to solve this little puzzle for a couple nights now, and
> at long last turn to the hive mind to sort it all out.
>
> Here are the critical components:
> Two loopers - A KP3 and Boss RC-50.
> One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends - One
> labled FX, one labeled MON - Upon review of the manual<http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf>,
> they are effectively the same thing. Each of the 12 channels has two knobs
> that determines the amount of the signal being sent to either of the sends.
>
> What I'd like to be able to do is to send to either OR both of the
> loopers, as well as send back and forth between the loopers. I understand
> that I can return either looper to its own channel, but feedback becomes an
> issue when I use this method to send to each other via channels. Is there
> any way to accomplish the setup I'm looking for?
>
> Further complicating the issue is the fact that the KP3 is stereo in,
> stereo out, while the send it self is mono - Currently I'm just using a
> stereo to mono adapter to "monoize" the signal before it hits the kp3.
>
> Help!
>
> Thanks,
> --
> ~holotone
> http://holotone.net/




-- 
-==-=-=-
Tony

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<br>(sorry I&#39;m late to this party, been traveling for a week) <br><br>I&#39;ve been through something like this too.&nbsp; I don&#39;t think it&#39;s possible to do all you want with one setup.&nbsp; I wound up with a bigger mixer, well, two mixers actually.&nbsp; <br>
<br>You can keep the stereo signal by splitting each of the sends with a &quot;Y&quot; cable.&nbsp; Send Aux 1 to the left in, and Aux 2 to the right in. You will have to use 4 channels in the mixer if you are using a stereo input signal.&nbsp; I don&#39;t think you will be able to send from one looper to the other.<br>
<br>I wound up getting a 2442fx and I still needed another mixer to get everything I wanted hooked up with the stereo signal preserved.<br><br>Does that 1222 have a ALT 3/4 send?&nbsp; If it does, then you might be able to work it out.&nbsp; I used my alt 3/4 to send to the PC for recording, so it didn&#39;t help my looper wiring.&nbsp; You could use the sends for a left/right pair and the ALT 3/4 for another.&nbsp; <br>
<br>Having nono sends just makes no sense to me.&nbsp; With all the stereo channels, why would one want to sum to mono to send through fx?&nbsp; dumb.<br><br>Tony<br><br><div class="gmail_quote">On Feb 7, 2008 3:23 PM, <a href="mailto:holotone@gmail.com">holotone@gmail.com</a> &lt;<a href="mailto:holotone@gmail.com">holotone@gmail.com</a>&gt; wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">I&#39;ve been trying to solve this little puzzle for a couple nights now, and at long last turn to the hive mind to sort it all out.<br>
<br>Here are the critical components:<br>Two loopers - A KP3 and Boss RC-50.<br>One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends - One labled FX, one labeled MON - Upon review of <a href="http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf" target="_blank">the manual</a>, they are effectively the same thing. Each of the 12 channels has two knobs that determines the amount of the signal being sent to either of the sends.<br>

<br>What I&#39;d like to be able to do is to send to either OR both of the loopers, as well as send back and forth between the loopers. I understand that I can return either looper to its own channel, but feedback becomes an issue when I use this method to send to each other via channels. Is there any way to accomplish the setup I&#39;m looking for?<br>

<br>Further complicating the issue is the fact that the KP3 is stereo in, stereo out, while the send it self is mono - Currently I&#39;m just using a stereo to mono adapter to &quot;monoize&quot; the signal before it hits the kp3.<br>

<br>Help!<br><br clear="all">Thanks,<br><font color="#888888">-- <br>~holotone<br><a href="http://holotone.net/" target="_blank">http://holotone.net/</a>
</font></blockquote></div><br><br clear="all"><br>-- <br>-==-=-=- <br>Tony

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Date: Wed, 13 Feb 2008 11:42:52 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Recommend me a 1 U mixer please
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I've got the Behringer and it works for me.  My only complaint (my continual
complaint about mixers)  no stereo sends. I just use mine to submix my
synths.

btw, I got the UB2442 too and so far no issues.  It's not leaving my studio,
so I'm hoping that it will stay in good shape! :)

Tony

On Feb 8, 2008 4:37 PM, mark francombe <mark@markfrancombe.com> wrote:

> Hi everyone,
>
> In an attempt to get rid of the towering racks, I am looking at racking
> all my looping gear into a silver case. To further this cause, can anyone
> recommend a 1 U mixer.
>
> I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster C3/C3X
>  8 Channel - and the 12 Input 1U mixer Behringer RX1602.
>
> Well of course the Behringer has most channels, most features and is most
> like what I need, with one main problem... its Behringer. My current mixer
> is a Behringer, and it sucks. But then again they made the FCB 1010 no
> complaints there...
>
> Any others, and have anyone got any of the above, can say nice of nasty
> things about them. Someone was mentioning a Peavey a while back too...
>
>
>
> --
> www.markfrancombe.com
> www.looop.no




-- 
-==-=-=-
Tony

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I&#39;ve got the Behringer and it works for me.&nbsp; My only complaint (my continual complaint about mixers)&nbsp; no stereo sends. I just use mine to submix my synths.<br><br>btw, I got the UB2442 too and so far no issues.&nbsp; It&#39;s not leaving my studio, so I&#39;m hoping that it will stay in good shape! :)<br>
<br>Tony<br><br><div class="gmail_quote">On Feb 8, 2008 4:37 PM, mark francombe &lt;<a href="mailto:mark@markfrancombe.com">mark@markfrancombe.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Hi everyone,<br><br>In an attempt to get rid of the towering racks, I
am looking at racking all my looping gear into a silver case. To
further this cause, can anyone recommend a 1 U mixer.<br><br>I have looked at the Rolls RM203X, 9 stereo ch.... the Soundmaster <span><font face="Arial">C3/C3X &nbsp;8 Channel - and the 12 Input 1U mixer </font></span>Behringer RX1602.<br>


<br>Well of course the Behringer has most channels, most features and
is most like what I need, with one main problem... its Behringer. My
current mixer is a Behringer, and it sucks. But then again they made
the FCB 1010 no complaints there...<br>
<br>Any others, and have anyone got any of the above, can say nice of
nasty things about them. Someone was mentioning a Peavey a while back
too...<br><font color="#888888"><font color="#888888"><br clear="all"></font><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com" target="_blank">www.markfrancombe.com</a><br><a href="http://www.looop.no" target="_blank">www.looop.no</a>
</font></blockquote></div><br><br clear="all"><br>-- <br>-==-=-=- <br>Tony

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Subject: RE: film music rights, licensing ...OT
Date: Wed, 13 Feb 2008 13:22:34 -0500
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I don't know if the rules are different in your part of the world, but when
we bought our house many years ago, we wanted to make a one-sided agreement
with our new neighbors and our laywer told us it wouldn't stand up.

 

Here are the details.  When we looked at the survey before closing the deal,
we found that our neighbors' driveway overlapped a little onto our property.
We didn't care about that, but we did care that there be no question about
where the property line was.  In the USA, there is something called the
"right of adverse possession:" If you use someone else's property for long
enough, and the owner knows about it and doesn't object, it becomes yours.

 

So we wanted to be sure that the strip of land under our neighbor's driveway
didn't become their property.  The reason was that we might want to add onto
the house someday, and there were rules about how far an addition had to be
from the property line.  Move the line, and you change the size of the
allowable addition.

 

Anyway, we wanted to tell the people who were selling us the house that
before we would buy it, they would have to get an agreement from their
neighbors (soon to be our neighbors, we hoped) that they acknkowledged that
they did not own that strip of land.

 

Our lawyer told us that such an agreement was not legitimate.  In order for
a contract to be enforceable in court, at least in New Jersey in 1984 (which
was when we bought our house), each party to the contract had to gain
something.  So in order for their acknowledgment to be legitimate, we had to
give them something in exchange for it.

 

So we changed the contract: In exchange for their agreeing that we owned
that strip of land, and that we had the right to remove that part of their
driveway any time we wanted, we agreed to give them 60 days' notice if we
ever decided to remove that part of their driveway.   This way, we both
gained something from the deal.

 

So.If you sign a contract that gives someone else the right to use a piece
of music you wrote, and you don't get anything in return, it just might be
that the contract is not binding.  If you care, I would suggest you check
with a lawyer who knows what the rules are wherever the contract is intended
to be in force.

 


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<p class=3DMsoNormal><span =
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color:#1F497D'>I don&#8217;t know if the rules are different in your =
part of
the world, but when we bought our house many years ago, we wanted to =
make a
one-sided agreement with our new neighbors and our laywer told us it =
wouldn&#8217;t
stand up.<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
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<p class=3DMsoNormal><span =
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color:#1F497D'>Here are the details.&nbsp; When we looked at the survey =
before
closing the deal, we found that our neighbors&#8217; driveway overlapped =
a
little onto our property.&nbsp; We didn&#8217;t care about that, but we =
did
care that there be no question about where the property line was.&nbsp; =
In the
USA, there is something called the &#8220;right of adverse =
possession:&#8221;
If you use someone else&#8217;s property for long enough, and the owner =
knows
about it and doesn&#8217;t object, it becomes =
yours.<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
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<p class=3DMsoNormal><span =
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color:#1F497D'>So we wanted to be sure that the strip of land under our
neighbor&#8217;s driveway didn&#8217;t become their property.&nbsp; The =
reason
was that we might want to add onto the house someday, and there were =
rules
about how far an addition had to be from the property line.&nbsp; Move =
the
line, and you change the size of the allowable =
addition.<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Anyway, we wanted to tell the people who were selling us =
the
house that before we would buy it, they would have to get an agreement =
from
their neighbors (soon to be our neighbors, we hoped) that they =
acknkowledged
that they did not own that strip of land.<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Our lawyer told us that such an agreement was not
legitimate.&nbsp; In order for a contract to be enforceable in court, at =
least
in New Jersey in 1984 (which was when we bought our house), each party =
to the
contract had to gain something.&nbsp; So in order for their =
acknowledgment to
be legitimate, we had to give them something in exchange for =
it.<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>So we changed the contract: In exchange for their =
agreeing that
we owned that strip of land, and that we had the right to remove that =
part of
their driveway any time we wanted, we agreed to give them 60 days&#8217; =
notice
if we ever decided to remove that part of their driveway.&nbsp;&nbsp; =
This way,
we both gained something from the deal.<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>So&#8230;If you sign a contract that gives someone else =
the
right to use a piece of music you wrote, and you don&#8217;t get =
anything in
return, it just might be that the contract is not binding.&nbsp; If you =
care, I
would suggest you check with a lawyer who knows what the rules are =
wherever the
contract is intended to be in force.<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 18:35:56 2008
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Subject: MUSIC RIGHTS  MARKETING ETC
Date: Wed, 13 Feb 2008 13:35:53 -0500
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Heres a link to a great interview with David Byrne and Thom Yorke on  
the state of music distibution today.   http://www.wired.com/entertainment/music/magazine/16-01/ff_yorke?currentPage=all 
       I hope some of this helps 
  

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 18:53:06 2008
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Subject: Film music rights
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=20
"but would they not pay their
> crew?"Yes -they call it an internship,and offer credits. This is  extreme=
ly common in the burgeoning Indie film world,and in the music biz in genera=
l.In the worst cases Interns who sign on to learn and get their foot in the=
 door, develop contacts,  take out trash,get coffee,do shit work, mundane s=
tuff etc,and learn little about the biz.
  I see calls everyday for camera and sound people ,gaffers ,grips etc for =
no money .

=20



You know, I kind of like the part in
"space" when the audience turns around and wonders, "What am I
doing here?"  Jerry Garcia









_________________________________________________________________
Helping your favorite cause is as easy as instant messaging.=A0You IM, we g=
ive.
http://im.live.com/Messenger/IM/Home/?source=3Dtext_hotmail_join=

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{
FONT-SIZE: 10pt;
FONT-FAMILY:Tahoma
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<body class=3D'hmmessage'>
&nbsp;<br><pre>"but would they not pay their<br>&gt; crew?"</pre><span clas=
s=3D"body"></span>Yes -they call it an internship,and offer credits. This i=
s&nbsp; extremely common in the burgeoning Indie film world,and in the musi=
c biz in general.In the worst cases Interns who sign on to learn and get th=
eir foot in the door, develop contacts,&nbsp; take out trash,get coffee,do =
shit work, mundane stuff etc,and learn little about the biz.<br>&nbsp; I se=
e calls everyday for camera and sound people ,gaffers ,grips etc for no mon=
ey .<br><br>&nbsp;<br><font face=3D"New York,Times New Roman"><br><br><br>Y=
ou know, I kind of like the part in
"space" when the audience turns around and wonders, "What am I
doing here?"&nbsp; Jerry Garcia</font><br>
<br>
<span class=3D"EC_EC_EC_Apple-style-span" style=3D"border-collapse: separat=
e; color: rgb(0, 0, 0); font-family: Geneva; font-size: 12px; font-style: n=
ormal; font-variant: normal; font-weight: normal; letter-spacing: normal; l=
ine-height: normal; text-indent: 0px; text-transform: none; white-space: no=
rmal; word-spacing: 0px;"><dl><dd><br></dd></dl></span><span class=3D"EC_EC=
_EC_bodybold"></span><span class=3D"body"></span><br><a href=3D"http://www.=
brainyquote.com/quotes/quotes/l/louisarmst163740.html" target=3D"_blank"></=
a><br><br><blockquote><hr><br></blockquote><br /><hr />Helping your favorit=
e cause is as easy as instant messaging.=A0You IM, we give. <a href=3D'http=
://im.live.com/Messenger/IM/Home/?source=3Dtext_hotmail_join' target=3D'_ne=
w'>Learn more.</a></body>
</html>=

--_9684dac4-efbd-4d62-8c40-c9a05911d158_--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 19:44:43 2008
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To: Loopers-Delight@loopers-delight.com
Subject: EDP+ boot failure
Date: Wed, 13 Feb 2008 20:05:09 +0100
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Hello,

My EDP+ has a problem. Sometimes it refuses to boot correctly. It will
light up in some of the leds and on the screen, but very briefly, and
then it's blacked out. It is unpredictable but it seems like it happens
more often when the unit has been on for some hours. Also, when it does
black out, I can hear that there is still current in the electrical
circuit.

I should say that it is only during boot-up this happens, and only
sometimes. If my unit boots up correctly, it is functioning as normal
and stays on.

I searched through the archive and someone suggested re-seating the ROMs.
Does this mean actually taking out the ROM chips (not sure exactly which
ones they are) and putting them back in again?
I've checked all the SIMMs and made sure everything is in place. And
I've reset the EDP+, but none of this have helped.

Any suggestions?

All the best from,
Magnus

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 19:47:49 2008
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Subject: Re: Film music rights
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..and I get mails from film students ASKING to be interns... I have one, and
any more would fill up my offices. I realise that the whole intern thing has
got completely out of hand in the US, and whether they get any real
experience is negligable, but on the other hand...

And CUE grumbly old man voice...

"When I was young ,we did lots and lots of stuff for free... FOR FUN!!!! AND
LEARNT IN THE PROCESS!!!! But my step son wont even shovel the snow away
from my house, or take out the cat shit, unless I pay him!!!" Kids nowadays
only start bands to get famous, within seconds of thinking up the band name,
they have a website, a my space page, an album recorded with fruityloops.
They pose in pictures in front of graffiti with low angles and ask me
questions like How did you get a record deal? Why arnt you rich? and whats
wrong with Bear Share?

I made pop videos that got on MTV for free ... for FUN... I do gigs for
free... FOR FUN!!!

apart from the fact that i dont get to travel anymore, Im a happier (and
richer ) man for NOT being a professional musician anymore!!
Its just for love of the noise!!!

I dont think a normal office should realy take on interns, but some people
just LOVE film, and want to be near it... for fun.. I still think thats OK.


-- 
www.markfrancombe.com
www.looop.no


>
>

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..and
I get mails from film students ASKING to be interns... I have one, and
any more would fill up my offices. I realise that the whole intern
thing has got completely out of hand in the US, and whether they get
any real experience is negligable, but on the other hand...<br>
<br>And CUE grumbly old man voice...<br><br>&quot;When I was young ,we did
lots and lots of stuff for free... FOR FUN!!!! AND LEARNT IN THE
PROCESS!!!! But my step son wont even shovel the snow away from my
house, or take out the cat shit, unless I pay him!!!&quot; Kids nowadays
only start bands to get famous, within seconds of thinking up the band
name, they have a website, a my space page, an album recorded with
fruityloops. They pose in pictures in front of graffiti with low angles
and ask me questions like How did you get a record deal? Why arnt you
rich? and whats wrong with Bear Share?<br>
<br>I made pop videos that got on MTV for free ... for FUN... I do gigs for free... FOR FUN!!!<br><br>apart
from the fact that i dont get to travel anymore, Im a happier (and
richer ) man for NOT being a professional musician anymore!!<br>
Its just for love of the noise!!!<br><br>I
dont think a normal office should realy take on interns, but some
people just LOVE film, and want to be near it... for fun.. I still
think thats OK.<br><font color="#888888"><br clear="all"><br>-- <br>
<a href="http://www.markfrancombe.com/" target="_blank">www.markfrancombe.com</a><br><a href="http://www.looop.no/" target="_blank">www.looop.no</a>
</font><br><br><div class="gmail_quote"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div class="Ih2E3d"><br></div><br></blockquote></div>
<br>

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From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 20:26:34 2008
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From: info at zoekeating <info@zoekeating.com>
Subject: Re: Film music rights
Date: Wed, 13 Feb 2008 12:26:27 -0800
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Yes, on the indie side that is often the case. I've contributed music  
or specially composed music for many, many films where no one else  
was paid and I never had any expectation of that. If one needs to  
gain experience, that is how it is done! Even if you're not resume  
building though..it all depends on the situation. I take on non-paid  
projects all the time if it expands my horizons in some way or I'll  
learn something new, or get to collaborate with someone I really  
respect, or if I just really want to do it.

In those situations, if it is not some new creative collaboration  
that you have an artistic stake in, then it is up to you to decide if  
the production is worthy enough for you to do it for credit only  
(because if the film looks really terrible, do you want to be  
associated with it forever?).

I think one of my points was that IF if a production has a budget for  
other service providers, then the music is a portion of that budget.  
But yeah, 10% of nothing, is, er nothing! (Although I know many  
directors who spend almost nothing making a film, but still shell out  
thousands to obtain sync licenses because they want specific songs)

This is where the "favored nations status" clause comes in useful.  
Then, if other musicians are compensated, you need to be as well.

This topic needs its own website really...it is so vast and not  
really looping-specific!

----
an anecdote...

I was in a situation very recently where a director wanted to use my  
music and had no budget. I said ok because it was a worthy project  
and gave them a free one year festival license. However, they wanted  
to sell DVDs (and there was 20 minutes of my music in there), but not  
pay me royalties. I said this would not be possible, and outlined a  
pretty standard and miniscule royalty rate, even making it easy for  
them so they would not have to pay royalties until AFTER they'd sold  
each batch of 1000 copies. Given the tiny amount of money I was  
pretty shocked when the director balked and replied  "there are  
thousands of musicians out there who I can get music for free from.  
Why should I pay for yours?". I said, well, you're free NOT to use it  
then, and walked away.

On Feb 13, 2008, at 10:53 AM, samba - wrote:

>
> "but would they not pay their
> > crew?"
> Yes -they call it an internship,and offer credits. This is   
> extremely common in the burgeoning Indie film world,and in the  
> music biz in general.In the worst cases Interns who sign on to  
> learn and get their foot in the door, develop contacts,  take out  
> trash,get coffee,do shit work, mundane stuff etc,and learn little  
> about the biz.
>   I see calls everyday for camera and sound people ,gaffers ,grips  
> etc for no money .
>
>
>
>
>
> You know, I kind of like the part in "space" when the audience  
> turns around and wonders, "What am I doing here?"  Jerry Garcia
>
>
>
>
>
>
>
> Helping your favorite cause is as easy as instant messaging. You  
> IM, we give. Learn more.


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	charset=ISO-8859-1

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Yes, on the indie side that is =
often the case. I've contributed music or specially composed music for =
many, many films where no one else was paid and I never had any =
expectation of that. If one needs to gain experience, that is how it is =
done! Even if you're not resume building though..it all depends on the =
situation. I take on non-paid projects all the time if it expands my =
horizons in some way or I'll learn something new, or get to collaborate =
with someone I really respect, or if I just really want to do =
it.=A0<div><br></div><div><div><div>In those situations, if it is not =
some new creative collaboration that you have an artistic stake in, then =
it is up to you to decide if the production is worthy enough for you to =
do it for credit only (because if the film looks really terrible, do you =
want to be associated with it forever?).<div><br =
class=3D"webkit-block-placeholder"></div><div>I think one of my points =
was that IF if a production has a budget for other service providers, =
then the music is a portion of that budget. But yeah, 10% of nothing, =
is, er nothing! (Although I know many directors who spend almost nothing =
making a film, but still shell out thousands to obtain sync licenses =
because they want specific songs)</div><div><div><br =
class=3D"webkit-block-placeholder"></div><div>This is where the "favored =
nations status" clause comes in useful. Then, if other musicians are =
compensated, you need to be as well.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>This topic needs its own =
website really...it is so vast and not really =
looping-specific!</div><div><br></div><div>----</div><div>an =
anecdote...</div><div><br class=3D"webkit-block-placeholder"></div><div>I =
was in a situation very recently where a director wanted to use my music =
and had no budget. I said ok because it was a worthy project and gave =
them a free one year festival license. However, they wanted to sell DVDs =
(and there was 20 minutes of my music in there), but not pay me =
royalties. I said this would not be possible, and outlined a pretty =
standard and miniscule royalty rate, even making it easy for them so =
they would not have to pay royalties until AFTER they'd sold each batch =
of 1000 copies. Given the tiny amount of money I was pretty shocked when =
the director balked and replied =A0"there are thousands of musicians out =
there who I can get music for free from. Why should I pay for yours?". I =
said, well, you're free NOT to use it then, and walked =
away.</div><div><br></div><div><div>On Feb 13, 2008, at 10:53 AM, samba =
- wrote:</div><div><div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; color: =
rgb(0, 0, 0); font-family: Tahoma; font-size: 13px; font-style: normal; =
font-variant: normal; font-weight: normal; letter-spacing: normal; =
line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; =
text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; =
-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: =
0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: =
auto; -webkit-text-stroke-width: 0; ">=A0<br><pre>"but would they not =
pay their<br>&gt; crew?"</pre><span class=3D"body"></span>Yes -they call =
it an internship,and offer credits. This is=A0 extremely common in the =
burgeoning Indie film world,and in the music biz in general.In the worst =
cases Interns who sign on to learn and get their foot in the door, =
develop contacts,=A0 take out trash,get coffee,do shit work, mundane =
stuff etc,and learn little about the biz.<br>=A0 I see calls everyday =
for camera and sound people ,gaffers ,grips etc for no money =
.<br><br>=A0<br><font face=3D"New York,Times New Roman"><br><br><br>You =
know, I kind of like the part in "space" when the audience turns around =
and wonders, "What am I doing here?"=A0 Jerry Garcia</font><br><br><span =
class=3D"EC_EC_EC_Apple-style-span" style=3D"border-collapse: separate; =
color: rgb(0, 0, 0); font-family: Geneva; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; text-indent: 0px; text-transform: none; =
white-space: normal; word-spacing: 0px; =
"><dl><dd><br></dd></dl></span><span =
class=3D"EC_EC_EC_bodybold"></span><span class=3D"body"></span><br><a =
href=3D"http://www.brainyquote.com/quotes/quotes/l/louisarmst163740.html" =
target=3D"_blank"></a><br><br><blockquote><hr><br></blockquote><br><hr>Hel=
ping your favorite cause is as easy as instant messaging.=A0You IM, we =
give.<span class=3D"Apple-converted-space">=A0</span><a =
href=3D"http://im.live.com/Messenger/IM/Home/?source=3Dtext_hotmail_join" =
target=3D"_new">Learn =
more.</a></span></blockquote></div><br></div></div></div></div></div></div=
></body></html>=

--Apple-Mail-1--858595551--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 13 23:17:18 2008
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From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: re: List member Todd Reynolds featured on Ableton.com
Date: Wed, 13 Feb 2008 15:17:39 -0800
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Wow, congratulations, buddy.

This is a wonderful interview and a wonderful piece of good news for your 
career.

I'm super proud of you and so glad that you are such an integral part of the 
looping community.

Nice work.

warmly,  Rick

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 00:31:27 2008
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Congratulations!=2E   Noticed the reference to Theo Bleckmann on Todd's si=
te
- check him out too!

Original Message:
-----------------
From: Rick Walker looppool@cruzio=2Ecom
Date: Wed, 13 Feb 2008 15:17:39 -0800
To: Loopers-Delight@loopers-delight=2Ecom
Subject: re: List member Todd Reynolds featured on Ableton=2Ecom


Wow, congratulations, buddy=2E

This is a wonderful interview and a wonderful piece of good news for your=20=

career=2E

I'm super proud of you and so glad that you are such an integral part of
the=20
looping community=2E

Nice work=2E

warmly,  Rick



--------------------------------------------------------------------
mail2web LIVE =96 Free email based on Microsoft=AE Exchange technology -
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From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 01:00:42 2008
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Date: Wed, 13 Feb 2008 19:53:28 -0500
From: Os <os@collective.co.uk>
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So, I went to The Orbit Room on Monday as recommended.

Thanks for the tip! Great little venue, and the music, while not my
usual cup of tea, was excellent.

Apparently Monday was the first time in 12 years they'd gone on with a
set list prepared. Not sure what to make of that!


cheers,
os.


On 06/02/2008, bradm <bradmcmail@yahoo.ca> wrote:
> --- Os <os@collective.co.uk> wrote:
> > I've just arranged a business trip to Toronto for
> > next week. Anyone
> > got any recommendations?
>
> If you're there on Monday, Feb. 11, and can handle a
> late night downtown, I heartily recommend going to The
> Orbit Room
>
> http://www.orbitroom.ca/
>
> to see Sisters Euclid
>
> http://www.sisterseuclid.com
>
> which includes Kevin Breit
>
> http://www.myspace.com/kevinbreit
>
> on guitar (and sometimes vocals). They usually do two
> sets, the first starting around 10pm; the cover charge
> is (IIRC) $7.
>
> Musically, they're astounding. They have an amazing
> confidence and fearlessness to their playing; seeing
> Kevin play guitar (even slide) is jaw-dropping. In
> genre terms, I guess they're a jazz band, but they
> include rock, blues, funk, and groove elements as
> well. They're not a "looping" act per se, but the last
> time I saw them (2007-12-17), Kevin did some looping
> of his guitar parts (more as seasoning than a main
> course, if you get my drift).
>
> The Orbit Room also has a really good selection of
> Ontario micro-brews, if you dig beer.
>
> Aloha,
> Brad
>
>
>       Looking for the perfect gift? Give the gift of Flickr!
>
> http://www.flickr.com/gift/
>
>


-- 
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

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From: bradm <bradmcmail@yahoo.ca>
Subject: Re: toronto, next week
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--- Os <os@collective.co.uk> wrote:
> So, I went to The Orbit Room on Monday as
> recommended.
> 
> Thanks for the tip! Great little venue, and the
> music, while not my
> usual cup of tea, was excellent.

I'm glad you liked it. Sisters Euclid is one of my
favourite bands these days.

> Apparently Monday was the first time in 12 years
> they'd gone on with a
> set list prepared. Not sure what to make of that!

Wow. I know they're working on a new record (and have
even done some recording at The Orbit Room), so maybe
that was part of it. I also know their official
archivist/taper, so I'll be sure to ask him what was
up with them using a set list. (I'll also ask if he
recorded it, assuming I can type with all my fingers
crossed...)

Aloha,
Brad


      Ask a question on any topic and get answers from real people. Go to Yahoo! Answers and share what you know at http://ca.answers.yahoo.com

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From: samba - <sambacomet@hotmail.com>
To: <loopers-delight@loopers-delight.com>
Subject: Music film rights
Date: Wed, 13 Feb 2008 17:26:12 -0800
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 Yes I do stuff for free for the fun of it too,or cause it's something I wa=
nt to support ,like Y2K loopfests and Woodstockhausen. There are definately=
 plenty of people in music and film scamming though,It's really good for pe=
ople to know how contract laws ,copyrights ,mechanical reproduction etc. wo=
rk. One can still get taken.
  I'm very aware that people expect to get music for free. I'm willing to p=
lay for free-in many situations,for thelove of music,for fun,for good cause=
s ,community spirit etc,but not to make someone else's business venture wor=
k. I don't think there's an other profession where people expect one to wor=
k for free. I once had someone tell me I shouldn't charge for hand drum les=
sons,and was outraged when I'd teach free group class if she'd give me a ro=
om in her house.
 =20





_________________________________________________________________
Helping your favorite cause is as easy as instant messaging.=A0You IM, we g=
ive.
http://im.live.com/Messenger/IM/Home/?source=3Dtext_hotmail_join=

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<body class=3D'hmmessage'>
&nbsp;Yes I do stuff for free for the fun of it too,or cause it's something=
 I want to support ,like Y2K loopfests and Woodstockhausen. There are defin=
ately plenty of people in music and film scamming though,It's really good f=
or people to know how contract laws ,copyrights ,mechanical reproduction et=
c. work. One can still get taken.<br>&nbsp; I'm very aware that people expe=
ct to get music for free. I'm willing to play for free-in many situations,f=
or thelove of music,for fun,for good causes ,community spirit etc,but not t=
o make someone else's business venture work. I don't think there's an other=
 profession where people expect one to work for free. I once had someone te=
ll me I shouldn't charge for hand drum lessons,and was outraged when I'd te=
ach free group class if she'd give me a room in her house.<br>&nbsp; <font =
face=3D"New York,Times New Roman"><br></font><span class=3D"EC_EC_EC_Apple-=
style-span" style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-f=
amily: Geneva; font-size: 12px; font-style: normal; font-variant: normal; f=
ont-weight: normal; letter-spacing: normal; line-height: normal; text-inden=
t: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"></sp=
an><span class=3D"EC_EC_EC_bodybold"></span><span class=3D"body"></span><br=
><a href=3D"http://www.brainyquote.com/quotes/quotes/l/louisarmst163740.htm=
l" target=3D"_blank"></a><br><br><blockquote><hr><br></blockquote><br /><hr=
 />Helping your favorite cause is as easy as instant messaging.=A0You IM, w=
e give. <a href=3D'http://im.live.com/Messenger/IM/Home/?source=3Dtext_hotm=
ail_join' target=3D'_new'>Learn more.</a></body>
</html>=

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Date: Wed, 13 Feb 2008 21:09:44 -0500
From: Brian Good <bsgood@adelphia.net>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: film music rights,icensing etc.(OT).
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Dennis Moser wrote:

> I'll probably mangle this, but I am reminded of an anecdote addressing
> how artists are often seen as prostitutes:

Reminds me of a brief conversation I had with my brother last year, as 
he got home from a symphony gig:

Me: How was the gig?

Him: Leave the money on the nightstand, sailor.


Brian

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Subject: FW News from The Genie Music
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Genie is the amaing scratch guitarist who played y2k6 and y2k7
 FWD.









=09
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            "whats up folks=20
Come celebrate the nice weather with me and some of my musical friends who =
will also be performing that night.  There will be a little of everything: =
live dubstep, visuals, dancing, scratch djs, freestyle emcees, and me of co=
urse doing my scratch guitar thing.  see you there!! genie
ps. be sure to check out the video from our last show http://myspacetv.com/=
index.cfm?fuseaction=3Dvids.individual&videoid=3D26274997

San Francisco Friday Feb 15

Performing live: the genie (scratch guitar), Flesh and the devil (audio 8)
Live Dubstep set: Kush (Surya Dub)
emcees: The Colonel, AWS, Codeine, Haza (40 Love)
DJ Sets: El Diablo
Scratch Emcees: Flesh O.N.E. (Audio 8), Merceruy Bones (Dhamaal)

Location: El Rincon (corner of 16th and Harrison) San Francisco
10 pm, $5, 21+"

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            Contact Information
            ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
            phone: 415-643-4572
            ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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Forward email






This email was sent to sambacomet@hotmail.com, by genie@thegeniemusic.com
Update Profile/Email Address | Instant removal with SafeUnsubscribe=99 | Pr=
ivacy Policy.


Email Marketing by



The Genie Music | 16 Lundys Lane | San Francisco | CA | 94110





_________________________________________________________________
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Genie is the amaing scratch guitarist who played y2k6 and y2k7<br>&nbsp;FWD=
.<br><blockquote><br><br>



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=3D"center">
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	   =20
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		<table style=3D"margin-bottom: 10px;" id=3D"EC_content_LETTER.BLOCK4" bor=
der=3D"0" cellpadding=3D"5" cellspacing=3D"0" width=3D"100%">
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ign=3D"left"><font style=3D"color: rgb(0, 0, 0); font-family: Verdana,Genev=
a,Arial,Helvetica,sans-serif; font-size: 10pt;" color=3D"#000000" face=3D"V=
erdana,Geneva,Arial,Helvetica,sans-serif" size=3D"2">"whats up folks <br>Co=
me celebrate the nice weather with me and some of my musical friends who wi=
ll also be performing that night.&nbsp; There will be a little of everythin=
g: live dubstep, visuals, dancing, scratch djs, freestyle emcees, and me of=
 course doing my scratch guitar thing.&nbsp; see you there!! genie<br>ps. b=
e sure to check out the video from our last show http://myspacetv.com/index=
.cfm?fuseaction=3Dvids.individual&amp;videoid=3D26274997<br><br>San Francis=
co Friday Feb 15<br><br>Performing live: the genie (scratch guitar), Flesh =
and the devil (audio 8)<br>Live Dubstep set: Kush (Surya Dub)<br>emcees: Th=
e Colonel, AWS, Codeine, Haza (40 Love)<br>DJ Sets: El Diablo<br>Scratch Em=
cees: Flesh O.N.E. (Audio 8), Merceruy Bones (Dhamaal)<br><br>Location: El =
Rincon (corner of 16th and Harrison) San Francisco<br>10 pm, $5, 21+"<br><d=
iv><br></div><div>&nbsp;</div><br></font></td>
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<table align=3D"center" border=3D"0" cellpadding=3D"0" cellspacing=3D"0" he=
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ntrol-2front%20copy.jpg" height=3D"427" width=3D"320"></th></tr></tbody></t=
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<a name=3D"LETTER.BLOCK2" target=3D"_blank">	=09
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	<td rowspan=3D"1" colspan=3D"1" align=3D"left" valign=3D"top" width=3D"100=
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erdana,Geneva,Arial,Helvetica,sans-serif" size=3D"2">
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,Arial,Helvetica,sans-serif; font-size: 10pt;"><font style=3D"color: rgb(0,=
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10pt;" color=3D"#000000" face=3D"Verdana,Geneva,Arial,Helvetica,sans-serif"=
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From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 11:24:59 2008
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From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen to Afterglow and Galactic Travels
To: undisclosed-recipients: ;
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AFTERGLOW ON WMUH:                      http://soundscapes.us/afterglow
=======================================================================
Afterglow airs from 8:00 am to 9:30 am every Thursday morning.  Tune in
for a delightful mix of eclectic musical genres including a healthy
dose of Progressive Rock.  Tune in at 91.7 FM or on the internet at:
http://muhlenberg.edu/wmuh
Check out Afterglow on MySpace at:
http://myspace.com/afterglowonwmuh


GALACTIC TRAVELS ON WDIY:                   http://galactictravels.info
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll continue the month-long
Special focus on Manikin Records.  The Featured CD at Midnight will be
disk 2 from "First Decade 1992 - 2002" on Manikin Records.  For
details, see the Special Focus page at:
http://wdiy.org/programs/gt/playlists/2008/focus.html#feb
Check out Galactic Travels on MySpace at:
http://myspace.com/galactictravels

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, on the internet, and in High Definition Radio at 88.1
FM.


======================================================================
All times are EST / GMT-5.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 13:54:16 2008
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Hi,
=20
Nice place here! This is my first post.  Sorry if the question has been ans=
wered before but I did not find the answer by searching the archive.
=20
I plan to invest in a Gibson Echoplex Digital Pro. One main application I w=
ant to use it for are rhythmical loops that evolve via short quantized repl=
ace/substitute/insert actions. I want those actions to be performed automic=
ally via Midi using a pattern sequencer. More specifically I would use an a=
lesis SR16 drum machine for the trigger patterns and assign midi notes to t=
he pads. The SR16 sends an midi on and then midi off event with pressing a =
pad.
=20
My question is, would it work like this? Can someone tell by experience? Ar=
e there sync or other problems? Would the SR16 work in this szenario or sho=
uld I use a different tool and which? Did someone has a similar application=
 or variation of it but used different means? Any tips and tricks?
=20
Thanks ...
=20
- Marco
=20
=20
=20
_________________________________________________________________
Kostenlose Messenger Emoticons! Hier downloaden!
http://messenger.live.de/mein/=

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<body class=3D'hmmessage'>
Hi,<BR>
&nbsp;<BR>
Nice place here! This is my first post.&nbsp; Sorry if the question has bee=
n answered before but I did not find the answer by searching the archive.<B=
R>
&nbsp;<BR>
I plan to invest in a Gibson Echoplex Digital Pro. One main application I w=
ant to use it for are rhythmical loops that evolve via short quantized repl=
ace/substitute/insert actions. I want those actions to be performed automic=
ally via Midi using a pattern sequencer. More specifically I would use an a=
lesis SR16 drum machine for the trigger patterns and assign midi notes to t=
he pads. The SR16 sends an midi on and then midi off event with pressing a =
pad.<BR>
&nbsp;<BR>
My question is, would it work like this? Can someone tell by experience? Ar=
e there sync or other problems? Would the SR16 work in this szenario or sho=
uld I use a different tool and which? Did someone has a similar application=
 or variation of it but used different means? Any tips and tricks?<BR>
&nbsp;<BR>
Thanks ...<BR>
&nbsp;<BR>
- Marco<BR>
&nbsp;<BR>
&nbsp;<BR>
&nbsp;<BR><br /><hr />Downloaden Sie alle Dienste kostenlos in einem Paket!=
 <a href=3D'http://redirect.gimas.net/?cat=3Dhmtl&n=3DM1207WLall&d=3Dhttp:/=
/get.live.com/wl/all' target=3D'_new'>Entdecken Sie Windows Live!</a></body=
>
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From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 13:54:37 2008
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From: Marco Coblenz <maracox@hotmail.de>
To: "loopers-delight@loopers-delight.com" <loopers-delight@loopers-delight.com>
Subject: Triggering EDP via drum machine (SR16)
Date: Thu, 14 Feb 2008 14:53:36 +0100
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Hi, Nice place here! This is my first post.  Sorry if the question has been=
 answered before but I did not find the answer by searching the archive. I =
plan to invest in a Gibson Echoplex Digital Pro. One main application I wan=
t to use it for are rhythmical loops that evolve via short quantized replac=
e/substitute/insert actions. I want those actions to be performed automical=
ly via Midi using a pattern sequencer. More specifically I would use an ale=
sis SR16 drum machine for the trigger patterns and assign midi notes to the=
 pads. The SR16 sends an midi on and then midi off event with pressing a pa=
d. My question is, would it work like this? Can someone tell by experience?=
 Are there sync or other problems? Would the SR16 work in this szenario or =
should I use a different tool and which? Did someone has a similar applicat=
ion or variation of it but used different means? Any tips and tricks? Thank=
s ... - Marco
_________________________________________________________________
Importieren Sie ganz einfach Ihre E-Mail Adressen in den Messenger!
http://messenger.live.de/community/neuekontakte_adressimport.html=

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<body class=3D'hmmessage'>
Hi,<BR>&nbsp;<BR>Nice place here! This is my first post.&nbsp; Sorry if the=
 question has been answered before but I did not find the answer by searchi=
ng the archive.<BR>&nbsp;<BR>I plan to invest in a Gibson Echoplex Digital =
Pro. One main application I want to use it for are rhythmical loops that ev=
olve via short quantized replace/substitute/insert actions. I want those ac=
tions to be performed automically via Midi using a pattern sequencer. More =
specifically I would use an alesis SR16 drum machine for the trigger patter=
ns and assign midi notes to the pads. The SR16 sends an midi on and then mi=
di off event with pressing a pad.<BR>&nbsp;<BR>My question is, would it wor=
k like this? Can someone tell by experience? Are there sync or other proble=
ms? Would the SR16 work in this szenario or should I use a different tool a=
nd which? Did someone has a similar application or variation of it but used=
 different means? Any tips and tricks?<BR>&nbsp;<BR>Thanks ...<BR>&nbsp;<BR=
>- Marco<BR><br /><hr />Mit Live Search: Ihre Stadt in der Vogelperspektive=
! <a href=3D'http://redirect.gimas.net/?cat=3Dhmtl&n=3DM1207Maps&d=3Dhttp:/=
/maps.live.de' target=3D'_new'>Erleben Sie neue Blickwinkel!</a></body>
</html>=

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From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 14:15:47 2008
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Date: Thu, 14 Feb 2008 15:15:44 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Triggering EDP via drum machine (SR16)
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On Thu, Feb 14, 2008 at 2:53 PM, Marco Coblenz <maracox@hotmail.de> wrote:
>
> I plan to invest in a Gibson Echoplex Digital Pro. One main application I
> want to use it for are rhythmical loops that evolve via short quantized
> replace/substitute/insert actions. I want those actions to be performed
> automically via Midi using a pattern sequencer. More specifically I would
> use an alesis SR16 drum machine for the trigger patterns and assign midi
> notes to the pads. The SR16 sends an midi on and then midi off event with
> pressing a pad.
>
> My question is, would it work like this? Can someone tell by experience? Are
> there sync or other problems? Would the SR16 work in this szenario or should
> I use a different tool and which? Did someone has a similar application or
> variation of it but used different means? Any tips and tricks?


This would work, sort of. There are some quirks though. It might be a
bit tricky to set up the drum machine for sending the correct MIDI
note numbers for the EDP action you want ( my guess: SUSSubstitute?).
The EDP has a fixed range of note numbers assigned to its actions and
this total range can then be off-set by any interval. If the SR16 can
be programmed with just about any MIDI notes as patterns you are
pretty well set, but if not you have to first compare your needed EDP
actions with the available sequencer pattern notes before being able
to tell if it's going to work. As you are saying, another field of
possible problems is the fact that most drum machines also send out a
MIDI Note on pressing any button, but if you don't use those
particular notes in your control sequence patterns you should be able
to filter them out on the way between the drum machine and the EDP.

Others have been using the EDP "auto-triggered" by MIDI sequence
patterns before; Claude Voit was pioneering this, I think. So can be
done.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 14:49:17 2008
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Date: Thu, 14 Feb 2008 06:49:14 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Triggering EDP via drum machine (SR16)
To: Loopers-Delight@loopers-delight.com
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Hey Per,
interesting,what can be done with the auto trigger
function of the EDP?you mean my EDP loops could change
as the sequence patterns change from my sampler for
ex.?





> Others have been using the EDP "auto-triggered" by
> MIDI sequence
> patterns before; Claude Voit was pioneering this, I
> think. So can be
> done.
> 
> -- 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> 
> 


www.myspace.com/luisangulocom


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Message-ID: <4759e5740802140650r7c3860f9na409b2d29d94fe4f@mail.gmail.com>
Date: Thu, 14 Feb 2008 09:50:04 -0500
From: "todd reynolds" <toddreyn@gmail.com>
Reply-To: todd@toddreynolds.com
To: qua@oregon.com, Loopers-Delight@loopers-delight.com
Subject: Re: List member Todd Reynolds featured on Ableton.com
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hey Qua,
I'm sitting next to Theo right now having breakfast, lol. We're playing (an=
d
looping) together for the next three nights with the Albany Symphony here i=
n
NY.  Since you mention my dear friend, I'm trying to post right now a clip
of the two of us looping together a few years ago... up on myspace.   we'll
see if it works... if not, I'll just post a link here.

thank you for the good wishes and congratulations.

Todd

On 2/13/08, qua@oregon.com <qua@oregon.com> wrote:
>
> Congratulations!.   Noticed the reference to Theo Bleckmann on Todd's sit=
e
> - check him out too!
>
> Original Message:
> -----------------
> From: Rick Walker looppool@cruzio.com
> Date: Wed, 13 Feb 2008 15:17:39 -0800
> To: Loopers-Delight@loopers-delight.com
> Subject: re: List member Todd Reynolds featured on Ableton.com
>
>
>
> Wow, congratulations, buddy.
>
> This is a wonderful interview and a wonderful piece of good news for your
> career.
>
> I'm super proud of you and so glad that you are such an integral part of
> the
> looping community.
>
> Nice work.
>
> warmly,  Rick
>
>
>
>
> --------------------------------------------------------------------
> mail2web LIVE =96 Free email based on Microsoft(R) Exchange technology -
> http://link.mail2web.com/LIVE
>
>
>


--=20
http://www.toddreynolds.com                    |:
http://myspace.com/toddreynoldsmusic  |:
------------------------------------------------------|:
917.576.6166
todd@toddreynolds.com
toddreyn@gmail.com

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hey Qua,&nbsp;<div><br class=3D"webkit-block-placeholder"></div><div>I&#39;=
m sitting next to Theo right now having breakfast, lol. We&#39;re playing (=
and looping) together for the next three nights with the Albany Symphony he=
re in NY. &nbsp;Since you mention my dear friend, I&#39;m trying to post ri=
ght now a clip of the two of us looping together a few years ago... up on m=
yspace. &nbsp; we&#39;ll see if it works... if not, I&#39;ll just post a li=
nk here.&nbsp;</div>
<div><br class=3D"webkit-block-placeholder"></div><div>thank you for the go=
od wishes and congratulations. &nbsp;</div><div><br class=3D"webkit-block-p=
laceholder"></div><div>Todd&nbsp;<br><br><div><span class=3D"gmail_quote">O=
n 2/13/08, <b class=3D"gmail_sendername"><a href=3D"mailto:qua@oregon.com">=
qua@oregon.com</a></b> &lt;<a href=3D"mailto:qua@oregon.com">qua@oregon.com=
</a>&gt; wrote:</span><blockquote class=3D"gmail_quote" style=3D"margin:0;m=
argin-left:0.8ex;border-left:1px #ccc solid;padding-left:1ex">
Congratulations!.&nbsp;&nbsp; Noticed the reference to Theo Bleckmann on To=
dd&#39;s site<br> - check him out too!<br> <br> Original Message:<br> -----=
------------<br> From: Rick Walker <a href=3D"mailto:looppool@cruzio.com">l=
ooppool@cruzio.com</a><br>
 Date: Wed, 13 Feb 2008 15:17:39 -0800<br> To: <a href=3D"mailto:Loopers-De=
light@loopers-delight.com">Loopers-Delight@loopers-delight.com</a><br> Subj=
ect: re: List member Todd Reynolds featured on <a href=3D"http://Ableton.co=
m">Ableton.com</a><br>
 <br><br> <br> Wow, congratulations, buddy.<br> <br> This is a wonderful in=
terview and a wonderful piece of good news for your<br> career.<br> <br> I&=
#39;m super proud of you and so glad that you are such an integral part of<=
br>
 the<br> looping community.<br> <br> Nice work.<br> <br> warmly,&nbsp;&nbsp=
;Rick<br> <br> <br> <br> <br>----------------------------------------------=
----------------------<br> mail2web LIVE =96 Free email based on Microsoft&=
reg; Exchange technology -<br>
 <a href=3D"http://link.mail2web.com/LIVE">http://link.mail2web.com/LIVE</a=
><br> <br> <br> </blockquote></div><br><br clear=3D"all"><br>-- <br><a href=
=3D"http://www.toddreynolds.com">http://www.toddreynolds.com</a>&nbsp;&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n=
bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<br>
<a href=3D"http://myspace.com/toddreynoldsmusic">http://myspace.com/toddrey=
noldsmusic</a>&nbsp;&nbsp;|:<br>-------------------------------------------=
-----------|:<br>917.576.6166&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;<br><a href=3D"mailto:todd@toddreynolds.com">todd@toddreynolds.com</a>=
<br>
<a href=3D"mailto:toddreyn@gmail.com">toddreyn@gmail.com</a>
</div>

------=_Part_1549_14950759.1203000604230--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 14:53:32 2008
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Subject: Re: edp to microkorg sync solved
Date: Thu, 14 Feb 2008 11:53:04 -0300
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sorry for asking so much later, Phill, but this sequence does  not  
make sense to me
should it not be:

Foot pedal -- EDP1 MIDI In -- EDP1 MIDI Thru -- EDP2 MIDI In -- EDP2  
MIDI Out -- MicroKorg MIDI In

?
just for the archive, as you say...

On 10 Jan 2008, at 16:00, phillip wilson wrote:

> Hi all,
>
> I wrote a few days ago to thank all those who helped me with advice.
> I had fixed the problem but wasnt sure how it happened.,then the  
> problem came back....
>  I luckily realised that the problem coincided with me  putting my  
> second edp into my setup.
>
> SOLUTION........
>
> connect the edps with brother sync, then  chain midi as dollows
>
> midi foot pedal midi out----edp1 midi in---edp1 midi out----edp2  
> midi THRU(that was the problem)---edp2 out---microkorg midi in
>
> so there you go, i know thats not really interesting, but  I thought  
> if it existed on the archives it might save someone time in the future
>
> phill
>
> Sounds like? How many syllables? Guess and win prizes with Search  
> Charades!


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">sorry for asking so much later, =
Phill, but this sequence does &nbsp;not make sense to me<div>should it =
not be:</div><div><br class=3D"webkit-block-placeholder"></div><div>Foot =
pedal -- EDP1 MIDI In -- EDP1 MIDI Thru -- EDP2 MIDI In -- EDP2 MIDI Out =
-- MicroKorg MIDI In</div><div><br =
class=3D"webkit-block-placeholder"></div><div>?</div><div>just for the =
archive, as you say...</div><div><br><div><div>On 10 Jan 2008, at 16:00, =
phillip wilson wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; color: =
rgb(0, 0, 0); font-family: Geneva; font-size: 16px; font-style: normal; =
font-variant: normal; font-weight: normal; letter-spacing: normal; =
line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; =
text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; =
-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: =
0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: =
auto; -webkit-text-stroke-width: 0; "><div class=3D"hmmessage" =
style=3D"font-size: 10pt; font-family: Tahoma; ">Hi all,<br>&nbsp;<br>I =
wrote a few days ago to thank all those who helped me with advice.<br>I =
had fixed the problem but wasnt sure how it happened.,then the problem =
came back....<br>&nbsp;I luckily realised that the problem coincided =
with me&nbsp; putting my second edp into my =
setup.<br>&nbsp;<br>SOLUTION........<br>&nbsp;<br>connect the edps with =
brother sync, then&nbsp; chain midi as dollows<br>&nbsp;<br>midi foot =
pedal midi out----edp1 midi in---edp1 midi out----edp2 midi THRU(that =
was the problem)---edp2 out---microkorg midi in<br>&nbsp;<br>so there =
you go, i know thats not really interesting, but&nbsp; I thought if it =
existed on the archives it might save someone time in the =
future<br>&nbsp;<br>phill<br><br><hr>Sounds like? How many =
syllables?<span class=3D"Apple-converted-space">&nbsp;</span><a =
href=3D"http://www.searchcharades.com" target=3D"_new">Guess and win =
prizes with Search =
Charades!</a></div></span></blockquote></div><br></div></body></html>=

--Apple-Mail-37--792198401--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 14:55:19 2008
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Date: Thu, 14 Feb 2008 09:55:17 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: List member Todd Reynolds featured on Ableton.com
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Nice article Todd.  Congrats.

Tony

On Wed, Feb 13, 2008 at 9:42 AM, todd reynolds <toddreyn@gmail.com> wrote:

> To all my fellow list members,
>
> It's a humbling thing for me to get a little text time on Ableton's
> website.
>
> But I wanted to share my little bit of good fortune with my good
> colleagues on the list, from whom I garner so much knowledge and
> comraderie.
>
> All Best,
>
> Todd
>
>
> http://ableton.com  (like you didn't know that, but it's a clickable link
> anyway) LOL
>
>
>
>

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Nice article Todd.&nbsp; Congrats.<br><br>Tony<br><br><div class="gmail_quote">On Wed, Feb 13, 2008 at 9:42 AM, todd reynolds &lt;<a href="mailto:toddreyn@gmail.com">toddreyn@gmail.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
To all my fellow list members,&nbsp;<div><br>&nbsp;</div><div>It&#39;s a humbling thing for me to get a little text time on Ableton&#39;s website.</div><div><br></div><div>But I wanted to share my little bit of good fortune with my good colleagues on the list, from whom I garner so much knowledge and comraderie.&nbsp;</div>

<div><br></div><div>All Best,</div><div><br></div><div>Todd</div><div><br></div><div><br>
</div><div><a href="http://ableton.com" target="_blank">http://ableton.com</a> &nbsp;(like you didn&#39;t know that, but it&#39;s a clickable link anyway) LOL</div><div><br></div><div><br>&nbsp;</div>
</blockquote></div><br>

------=_Part_2175_10907624.1203000917346--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 15:04:28 2008
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From: phillip wilson <phillwilson@hotmail.com>
To: <loopers-delight@loopers-delight.com>
Subject: RE: edp to microkorg sync solved
Date: Thu, 14 Feb 2008 15:04:25 +0000
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Oh bugger......!!
=20
I feel like quite the fool...after all that learning curve and hair pulling=
 to then plant a boobytrap for those behind me,=20
I was typing it about two minutes after it started to work so I think i got=
 over excited and wrote drivel. DOH as they say in Springfield.
=20
Thanks for pointing it out and cheers for following it up for the sakeof th=
e archives!!
=20
Phill MyOneManBand


From: matilists@atarde.com.brTo: Loopers-Delight@loopers-delight.comSubject=
: Re: edp to microkorg sync solvedDate: Thu, 14 Feb 2008 11:53:04 -0300sorr=
y for asking so much later, Phill, but this sequence does  not make sense t=
o me=20
should it not be:

Foot pedal -- EDP1 MIDI In -- EDP1 MIDI Thru -- EDP2 MIDI In -- EDP2 MIDI O=
ut -- MicroKorg MIDI In

?
just for the archive, as you say...


On 10 Jan 2008, at 16:00, phillip wilson wrote:

Hi all, I wrote a few days ago to thank all those who helped me with advice=
.I had fixed the problem but wasnt sure how it happened.,then the problem c=
ame back.... I luckily realised that the problem coincided with me  putting=
 my second edp into my setup. SOLUTION........ connect the edps with brothe=
r sync, then  chain midi as dollows midi foot pedal midi out----edp1 midi i=
n---edp1 midi out----edp2 midi THRU(that was the problem)---edp2 out---micr=
okorg midi in so there you go, i know thats not really interesting, but  I =
thought if it existed on the archives it might save someone time in the fut=
ure phill

Sounds like? How many syllables? Guess and win prizes with Search Charades!
_________________________________________________________________
Who's friends with who and co-starred in what?
http://www.searchgamesbox.com/celebrityseparation.shtml=

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<html>
<head>
<style>
.hmmessage P
{
margin:0px;
padding:0px
}
body.hmmessage
{
FONT-SIZE: 10pt;
FONT-FAMILY:Tahoma
}
</style>
</head>
<body class=3D'hmmessage'>
Oh bugger......!!<BR>
&nbsp;<BR>
I feel like quite the fool...after all that learning curve and hair pulling=
 to then plant a boobytrap for those behind me,&nbsp;<BR>
I was typing it about two minutes after it started to work so I think i got=
 over excited and wrote drivel.&nbsp;DOH as they say in Springfield.<BR>
&nbsp;<BR>
Thanks for pointing it out and cheers for following it up for the sakeof th=
e archives!!<BR>
&nbsp;<BR>
Phill MyOneManBand<BR><BR><BR>
<BLOCKQUOTE>
<HR>
From: matilists@atarde.com.br<BR>To: Loopers-Delight@loopers-delight.com<BR=
>Subject: Re: edp to microkorg sync solved<BR>Date: Thu, 14 Feb 2008 11:53:=
04 -0300<BR><BR>sorry for asking so much later, Phill, but this sequence do=
es &nbsp;not make sense to me=20
<DIV>should it not be:</DIV>
<DIV><BR class=3DEC_webkit-block-placeholder></DIV>
<DIV>Foot pedal -- EDP1 MIDI In -- EDP1 MIDI Thru -- EDP2 MIDI In -- EDP2 M=
IDI Out -- MicroKorg MIDI In</DIV>
<DIV><BR class=3DEC_webkit-block-placeholder></DIV>
<DIV>?</DIV>
<DIV>just for the archive, as you say...</DIV>
<DIV><BR>
<DIV>
<DIV>On 10 Jan 2008, at 16:00, phillip wilson wrote:</DIV><BR class=3DEC_Ap=
ple-interchange-newline>
<BLOCKQUOTE><SPAN class=3DEC_Apple-style-span style=3D"WORD-SPACING: 0px; F=
ONT: 16px Geneva; TEXT-TRANSFORM: none; COLOR: rgb(0,0,0); TEXT-INDENT: 0px=
; WHITE-SPACE: normal; LETTER-SPACING: normal; BORDER-COLLAPSE: separate">
<DIV class=3DEC_hmmessage style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Tahoma">Hi=
 all,<BR>&nbsp;<BR>I wrote a few days ago to thank all those who helped me =
with advice.<BR>I had fixed the problem but wasnt sure how it happened.,the=
n the problem came back....<BR>&nbsp;I luckily realised that the problem co=
incided with me&nbsp; putting my second edp into my setup.<BR>&nbsp;<BR>SOL=
UTION........<BR>&nbsp;<BR>connect the edps with brother sync, then&nbsp; c=
hain midi as dollows<BR>&nbsp;<BR>midi foot pedal midi out----edp1 midi in-=
--edp1 midi out----edp2 midi THRU(that was the problem)---edp2 out---microk=
org midi in<BR>&nbsp;<BR>so there you go, i know thats not really interesti=
ng, but&nbsp; I thought if it existed on the archives it might save someone=
 time in the future<BR>&nbsp;<BR>phill<BR><BR>
<HR>
Sounds like? How many syllables?<SPAN class=3DEC_Apple-converted-space>&nbs=
p;</SPAN><A href=3D"http://www.searchcharades.com/" target=3D_blank>Guess a=
nd win prizes with Search Charades!</A></DIV></SPAN></BLOCKQUOTE></DIV><BR>=
</DIV></BLOCKQUOTE><br /><hr />Sounds like? How many syllables? <a href=3D'=
http://www.searchcharades.com' target=3D'_new'>Guess and win prizes with Se=
arch Charades!</a></body>
</html>=

--_0dcd4e9f-226e-43b5-bc5a-6d99b97b5070_--

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Date: Thu, 14 Feb 2008 16:15:10 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Triggering EDP via drum machine (SR16)
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Hi,

This is about replacing the manual button or pedal hitting with a
sequenced MIDI event that does the same thing (it's not about an auto
trigger function in the EDP). But of course anything you normally do
with your EDP can be sequenced instead of using a manual MIDI pedal
for "tap dancing".

per



On Thu, Feb 14, 2008 at 3:49 PM, L.A. Angulo <labaloops@yahoo.com> wrote:
> Hey Per,
>  interesting,what can be done with the auto trigger
>  function of the EDP?you mean my EDP loops could change
>  as the sequence patterns change from my sampler for
>  ex.?
>
>
>
>  > Others have been using the EDP "auto-triggered" by
>  > MIDI sequence
>  > patterns before; Claude Voit was pioneering this, I
>  > think. So can be
>  > done.
>  >
>  > --
>  > Greetings from Sweden
>  >
>  > Per Boysen
>  > www.boysen.se (Swedish)
>  > www.looproom.com (international)
>  >
>  >
>
>
>  www.myspace.com/luisangulocom
>
>
>
>       ____________________________________________________________________________________
>  Be a better friend, newshound, and
>  know-it-all with Yahoo! Mobile.  Try it now.  http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
>
>



-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 15:24:21 2008
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From: Marco Coblenz <maracox@hotmail.de>
To: <loopers-delight@loopers-delight.com>
Subject: RE: Triggering EDP via drum machine (SR16)
Date: Thu, 14 Feb 2008 16:22:34 +0100
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> Date: Thu, 14 Feb 2008 15:15:44 +0100> From: perboysen@gmail.com> To: Loo=
pers-Delight@loopers-delight.com> Subject: Re: Triggering EDP via drum mach=
ine (SR16)> > On Thu, Feb 14, 2008 at 2:53 PM, Marco Coblenz <maracox@hotma=
il.de> wrote:> >> > I plan to invest in a Gibson Echoplex Digital Pro. One =
main application I> > want to use it for are rhythmical loops that evolve v=
ia short quantized> > replace/substitute/insert actions. I want those actio=
ns to be performed> > automically via Midi using a pattern sequencer. More =
specifically I would> > use an alesis SR16 drum machine for the trigger pat=
terns and assign midi> > notes to the pads. The SR16 sends an midi on and t=
hen midi off event with> > pressing a pad.If the SR16 can> be programmed wi=
th just about any MIDI notes as patterns you are> pretty well set, but if n=
ot you have to first compare your needed EDP> actions with the available se=
quencer pattern notes before being able> to tell if it's going to work.=20
=20
=20
This sounds good!!! With the SR16 you can determine which midi note (000 -1=
27) if any is assigned to a pad.
=20
- Marco
=20
=20
=20
_________________________________________________________________
Windows Live Fotogalerie: So einfach organisieren Sie Ihre Fotos!
http://get.live.com/photogallery/overview =

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<BR><BR>&gt; Date: Thu, 14 Feb 2008 15:15:44 +0100<BR>&gt; From: perboysen@=
gmail.com<BR>&gt; To: Loopers-Delight@loopers-delight.com<BR>&gt; Subject: =
Re: Triggering EDP via drum machine (SR16)<BR>&gt; <BR>&gt; On Thu, Feb 14,=
 2008 at 2:53 PM, Marco Coblenz &lt;maracox@hotmail.de&gt; wrote:<BR>&gt; &=
gt;<BR>&gt; &gt; I plan to invest in a Gibson Echoplex Digital Pro. One mai=
n application I<BR>&gt; &gt; want to use it for are rhythmical loops that e=
volve via short quantized<BR>&gt; &gt; replace/substitute/insert actions. I=
 want those actions to be performed<BR>&gt; &gt; automically via Midi using=
 a pattern sequencer. More specifically I would<BR>&gt; &gt; use an alesis =
SR16 drum machine for the trigger patterns and assign midi<BR>&gt; &gt; not=
es to the pads. The SR16 sends an midi on and then midi off event with<BR>&=
gt; &gt; pressing a pad.<BR>If the SR16 can<BR>&gt; be programmed with just=
 about any MIDI notes as patterns you are<BR>&gt; pretty well set, but if n=
ot you have to first compare your needed EDP<BR>&gt; actions with the avail=
able sequencer pattern notes before being able<BR>&gt; to tell if it's goin=
g to work. <BR>
&nbsp;<BR>
&nbsp;<BR>
This sounds good!!! With the SR16 you can determine which midi note (000 -1=
27) if any is assigned to a pad.<BR>
&nbsp;<BR>
- Marco<BR>
&nbsp;<BR>
&nbsp;<BR>
&nbsp;<BR><br /><hr />Direkter Zugriff zu Hotmail und Messenger! <a href=3D=
'http://redirect.gimas.net/?cat=3Dhmtl&n=3DM1207IE&d=3Dhttp://optimize.de.m=
sn.com/default.aspx?mkt=3Dde-de' target=3D'_new'>Kostenloses Update f=FCr I=
hren Internet Explorer!</a></body>
</html>=

--_7448f015-fe98-4d31-ae5c-f87a78dbf994_--

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Subject: Korg Zero 8 and LP1
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From: "Andy Owens" <andy@1800pathways.com>
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I was just wondering if anyone had tried using the Korg Zero 8 as a
combination of mixer and controller......it is a mixing surface with
midi control too.

=20

I am enjoying the forum here, you are some smart folks, I am new to
this, but have a configuration that I think has huge potential to be
cool. I already put some info about it on here, but I just wanted some
input if you fellers have a minute.....(;>)>)

=20

We are three piece, me playing mandolin, octave mandolin, mandocello,
electric guitar, bass, acoustic guitar, mandola, dobro, banjo, electric
mandolin, fiddle, lap steel and pedal steel, my sixteen year old son
plays electric bass, upright bass, cello, acoustic guitar, electric
guitar, mandolin and octave mandolin, the third guy plays drums
(electronic, Roland...) keyboards, fiddle/violin, guitar, bass, sax,
flute, penny whistles, harmonica. Lots of instruments and potential.

=20

I have all my instruments with pickups and settings on a Fishman Aura,
then to a Digitech RP 250 and also a Boss RC20 looper on my pedal board.
For now, since all I have is the RC20, I have a mixer/splitter, an old
Behringer that has eight channels and has a mix/split switch on each
channel that effectively acts like a mute switch, because each channel
can independently act as miz or split, so I am using it in mix and
panning to right and left to get the signal to either the mic or inst
input on the RC20, which gives me two input channels at least, even
though it is a one track looper with overdubs, but you can only undo the
last loop you laid down, which makes for needing to have a pretty good
plan.....

=20

We have been rehearsing it, and it is pretty easy to lay down a rhythm
section, then have the guys go to other instruments, and I have played
around a lot with building loops by myself playing all those
instruments, but what I didn't think about is.....EXIT STRATEGY!!! Holy
cow, that is a toughie, heck it's easy to build some cool loop live (we
plan to do everything live....) but getting out of it is a different
story......but we are getting there, the actual audio level mixing is
tough to deal with, I guess you all know that...lol

=20

Here is an example of how we were just playing around with a song the
other night, like Working Man Blues, (MERLE!!!) anyway, I could play a
funky elec guitar rhythm, with bass and drums playing along, and we
would loop that on the first loop, then sing a verse and while I am
singing, switch to mandolin, and at the same time, loop piano chords,
then after that verse, the drummer can pick up his sax and play fills
and such, and my son switch to acoustic guitar to do some fills and
leads, but not loop those.....as we get to the end, that is more tricky,
what we did finally was just have everyone switch back to the
instruments on the original loop track, bass, drums and elec guitar, and
start playing along, while this was going on I would undo the piano
chords, so it wouldn't be an abrupt change, and then kill the loops and
we would be playing live bass drums and elec guitar and do a live
ending.

=20

What seems to be a little of a problem, although it actually sounded
pretty seemless even with the limited RC20, was getting levels the same
and such so that it wasn't too noticeable with changing back to
live.....which made me think, based on my potential of this config,
maybe what I need is a killer sound person, who can mix us live just
like you would mix a record, like if one part of a song has a certain
thing that needs to go out in the arrangement at a certain time, then
they could just do that from the board...and that is one reason I
thought the Korg Zero might be cool, because if you could program the
mixing board to also control the loops, then the sound guy could also
control the loops records and undos and such too, which takes away some
creative control from us, but I am thinking that in most cases, for most
songs, what we need is a pretty structured arrangement, but with lots of
room to jam in between.

=20

I don't know, maybe I am rambling here, but it is a little tough to get
the audio levels right sometimes, it seems, and in a 4 to 5 minute song,
you don't really have time to reloop reloop reloop because of leveling
issues.....it would be awful cool to have that in the hands and ears of
the soundman.....

=20

Any thoughts from you geniuses out there?

=20

Andy Owens

rootpile

=20

________________________________

From: todd reynolds [mailto:toddreyn@gmail.com]=20
Sent: Thursday, February 14, 2008 9:50 AM
To: qua@oregon.com; Loopers-Delight@loopers-delight.com
Subject: Re: List member Todd Reynolds featured on Ableton.com

=20

hey Qua,=20

=20

I'm sitting next to Theo right now having breakfast, lol. We're playing
(and looping) together for the next three nights with the Albany
Symphony here in NY.  Since you mention my dear friend, I'm trying to
post right now a clip of the two of us looping together a few years
ago... up on myspace.   we'll see if it works... if not, I'll just post
a link here.=20

=20

thank you for the good wishes and congratulations. =20

=20

Todd=20

On 2/13/08, qua@oregon.com <qua@oregon.com> wrote:

Congratulations!.   Noticed the reference to Theo Bleckmann on Todd's
site
- check him out too!

Original Message:
-----------------
From: Rick Walker looppool@cruzio.com
Date: Wed, 13 Feb 2008 15:17:39 -0800
To: Loopers-Delight@loopers-delight.com
Subject: re: List member Todd Reynolds featured on Ableton.com



Wow, congratulations, buddy.

This is a wonderful interview and a wonderful piece of good news for
your
career.

I'm super proud of you and so glad that you are such an integral part of
the
looping community.

Nice work.

warmly,  Rick




--------------------------------------------------------------------
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--=20
http://www.toddreynolds.com                    |:
http://myspace.com/toddreynoldsmusic  |:
------------------------------------------------------|:
917.576.6166                                             =20
todd@toddreynolds.com
toddreyn@gmail.com=20


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I was just wondering if anyone had =
tried
using the Korg Zero 8 as a combination of mixer and =
controller&#8230;&#8230;it
is a mixing surface with midi control too.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I am enjoying the forum here, you =
are some
smart folks, I am new to this, but have a configuration that I think has =
huge
potential to be cool. I already put some info about it on here, but I =
just
wanted some input if you fellers have a =
minute&#8230;..(;&gt;)&gt;)<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>We are three piece, me playing =
mandolin,
octave mandolin, mandocello, electric guitar, bass, acoustic guitar, =
mandola, dobro,
banjo, electric mandolin, fiddle, lap steel and pedal steel, my sixteen =
year
old son plays electric bass, upright bass, cello, acoustic guitar, =
electric
guitar, mandolin and octave mandolin, the third guy plays drums =
(electronic,
Roland&#8230;) keyboards, fiddle/violin, guitar, bass, sax, flute, penny
whistles, harmonica. Lots of instruments and =
potential.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I have all my instruments with =
pickups and
settings on a Fishman Aura, then to a Digitech RP 250 and also a Boss =
RC20
looper on my pedal board. For now, since all I have is the RC20, I have =
a
mixer/splitter, an old Behringer that has eight channels and has a =
mix/split
switch on each channel that effectively acts like a mute switch, because =
each
channel can independently act as miz or split, so I am using it in mix =
and
panning to right and left to get the signal to either the mic or inst =
input on
the RC20, which gives me two input channels at least, even though it is =
a one
track looper with overdubs, but you can only undo the last loop you laid =
down, which
makes for needing to have a pretty good =
plan&#8230;..<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>We have been rehearsing it, and it =
is
pretty easy to lay down a rhythm section, then have the guys go to other
instruments, and I have played around a lot with building loops by =
myself
playing all those instruments, but what I didn&#8217;t think about =
is&#8230;..EXIT
STRATEGY!!! Holy cow, that is a toughie, heck it&#8217;s easy to build =
some
cool loop live (we plan to do everything live&#8230;.) but getting out =
of it is
a different story&#8230;&#8230;but we are getting there, the actual =
audio level
mixing is tough to deal with, I guess you all know =
that&#8230;lol<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Here is an example of how we were =
just
playing around with a song the other night, like Working Man Blues, =
(MERLE!!!)
anyway, I could play a funky elec guitar rhythm, with bass and drums =
playing
along, and we would loop that on the first loop, then sing a verse and =
while I
am singing, switch to mandolin, and at the same time, loop piano chords, =
then
after that verse, the drummer can pick up his sax and play fills and =
such, and
my son switch to acoustic guitar to do some fills and leads, but not =
loop those&#8230;..as
we get to the end, that is more tricky, what we did finally was just =
have
everyone switch back to the instruments on the original loop track, =
bass, drums
and elec guitar, and start playing along, while this was going on I =
would undo
the piano chords, so it wouldn&#8217;t be an abrupt change, and then =
kill the
loops and we would be playing live bass drums and elec guitar and do a =
live
ending.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>What seems to be a little of a =
problem,
although it actually sounded pretty seemless even with the limited RC20, =
was
getting levels the same and such so that it wasn&#8217;t too noticeable =
with
changing back to live&#8230;..which made me think, based on my potential =
of
this config, maybe what I need is a killer sound person, who can mix us =
live
just like you would mix a record, like if one part of a song has a =
certain
thing that needs to go out in the arrangement at a certain time, then =
they
could just do that from the board&#8230;and that is one reason I thought =
the
Korg Zero might be cool, because if you could program the mixing board =
to also
control the loops, then the sound guy could also control the loops =
records and
undos and such too, which takes away some creative control from us, but =
I am
thinking that in most cases, for most songs, what we need is a pretty
structured arrangement, but with lots of room to jam in =
between.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I don&#8217;t know, maybe I am =
rambling
here, but it is a little tough to get the audio levels right sometimes, =
it
seems, and in a 4 to 5 minute song, you don&#8217;t really have time to =
reloop
reloop reloop because of leveling issues&#8230;..it would be awful cool =
to have
that in the hands and ears of the =
soundman&#8230;..<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Any thoughts from you geniuses out =
there?<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><st1:PersonName w:st=3D"on"><font size=3D2 =
color=3Dnavy
 face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>Andy
 Owens</span></font></st1:PersonName><font size=3D2 color=3Dnavy =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'><o:p></o:p></span=
></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>rootpile<o:p></o:p></span></font></p=
>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<div>

<div class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><font =
size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D2 width=3D"100%" align=3Dcenter tabindex=3D-1>

</span></font></div>

<p class=3DMsoNormal><b><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font =
size=3D2
face=3DTahoma><span style=3D'font-size:10.0pt;font-family:Tahoma'> todd =
reynolds
[mailto:toddreyn@gmail.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, February =
14, 2008
9:50 AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> qua@oregon.com;
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: List member =
Todd
Reynolds featured on Ableton.com</span></font><o:p></o:p></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>hey Qua,&nbsp;<o:p></o:p></span></font></p>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>I'm sitting next to Theo right now having breakfast, lol. We're =
playing
(and looping) together for the next three nights with the Albany =
Symphony here
in NY. &nbsp;Since you mention my dear friend, I'm trying to post right =
now a
clip of the two of us looping together a few years ago... up on myspace. =
&nbsp;
we'll see if it works... if not, I'll just post a link =
here.&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>thank you for the good wishes and congratulations. =
&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><font size=3D3
face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Todd&nbsp;<o:p></o:p></span></font></p>

<div>

<p class=3DMsoNormal><span class=3Dgmailquote><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>On 2/13/08, <b><span =
style=3D'font-weight:bold'><a
href=3D"mailto:qua@oregon.com">qua@oregon.com</a></span></b> &lt;<a
href=3D"mailto:qua@oregon.com">qua@oregon.com</a>&gt; =
wrote:</span></font></span><o:p></o:p></p>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><font size=3D3
face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Congratulations!.&nbsp;&nbsp;
Noticed the reference to Theo Bleckmann on Todd's site<br>
- check him out too!<br>
<br>
Original Message:<br>
-----------------<br>
From: Rick Walker <a =
href=3D"mailto:looppool@cruzio.com">looppool@cruzio.com</a><br>
Date: Wed, 13 Feb 2008 15:17:39 -0800<br>
To: <a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</a><br>
Subject: re: List member Todd Reynolds featured on <a =
href=3D"http://Ableton.com">Ableton.com</a><br>
<br>
<br>
<br>
Wow, congratulations, buddy.<br>
<br>
This is a wonderful interview and a wonderful piece of good news for =
your<br>
career.<br>
<br>
I'm super proud of you and so glad that you are such an integral part =
of<br>
the<br>
looping community.<br>
<br>
Nice work.<br>
<br>
warmly,&nbsp;&nbsp;Rick<br>
<br>
<br>
<br>
<br>
--------------------------------------------------------------------<br>
mail2web LIVE &#8211; Free email based on Microsoft&reg; Exchange =
technology -<br>
<a =
href=3D"http://link.mail2web.com/LIVE">http://link.mail2web.com/LIVE</a><=
br>
<br>
<o:p></o:p></span></font></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><br>
<br clear=3Dall>
<br>
-- <br>
<a =
href=3D"http://www.toddreynolds.com">http://www.toddreynolds.com</a>&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<br>
<a =
href=3D"http://myspace.com/toddreynoldsmusic">http://myspace.com/toddreyn=
oldsmusic</a>&nbsp;&nbsp;|:<br>
------------------------------------------------------|:<br>
917.576.6166&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n=
bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>=

<a href=3D"mailto:todd@toddreynolds.com">todd@toddreynolds.com</a><br>
<a href=3D"mailto:toddreyn@gmail.com">toddreyn@gmail.com</a> =
<o:p></o:p></span></font></p>

</div>

</div>

</body>

</html>

------_=_NextPart_001_01C86F1D.833F4265--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 15:37:25 2008
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To: "Marco Coblenz" <maracox@hotmail.de>,
	"LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
References: <BLU121-W151C535CCB943CB29E6608C4250@phx.gbl>
Subject: Triggering EDP via drum machine (SR16)
Date: Thu, 14 Feb 2008 07:37:21 -0800
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Hey Marco,

You asked about triggering an EDP with a drum machine and about some tips 
and tricks:


The two people that I have seen that blew me out of the water with their 
manipulations of the EDP with a drum machine
are Andre LaFosse from LA www.altruistmusic.com
 and Claude Voit from Switzerland http://www.claudevoit.ch/

.   I don't think either one of them uses this technique
much, if at all, anymore,   but they have been amongst my greatest 
inspirations in using that machine.   They are both fantastic,
creative and inventive musicians and I can't more highly recommend that you 
buy some of the CDs that they have out to get
some ideas.

Andre LaFosse is not active at Loopers Delight but he has a very good 
website that has tons of tricks and suggestions about how to use
the EDP creatively.    Claude does participate on this site so you might 
look up his posts in particular or contact him directly.

One of the cool things that Andre would do would be to map very short 
successive loops (1-16) to the pads on his Roland drum machine
and then he could trigger them by hand.

Another person who is very, very sohpisticated at this remapping of the EDP 
multiple loops onto a keyboard (not a drum machine)  is
Berlin's amazing acapella singer,  Michael Schieffel.   I'm having trouble 
finding his homepage through google:  does anyone know what it is?

You are about to enter a very hip world,   good luck and let us know what 
you create with your experiments.

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

Here are a couple of tricks I use with the EDP (though not specifically drum 
machine oriented but very rhythmic, nonetheless:

      I put the EDP into SUS OVERDUB   and sing loud bursts of vocal noise 
with different pitches.........while
I'm doing it,   I am tapping out rhythmic patterns very quickly on the 
OVERDUB button on the footcontroller (which , to my knowledge, is the
only live looping hardware machine that allows one to tap extremely rapidly 
(and with multiple fingers) on one of the footcontroller buttons.

Additionally,  you can set quantize to whatever integer you want , from 2 - 
126  and then use the SUS=SUBSTITUTE mode
so that evertime you hit the button you will enter only one (for the sake of 
example) 1/16th of the loop.

This allows me to take abstract and rubato short ambient tracks and have 
them really glitch and sound odd and disconcerting until , suddenly,
all the quantized 'slices'  are substituted , in which case, suddenly a very 
hip and rhythmic ostinato pattern appears.

I love starting very abstract and suddenly grooving your ass off as you 
layer onto your original sliced groove.


Marco asked:

"I plan to invest in a Gibson Echoplex Digital Pro. One main application I 
want to use it for are rhythmical loops that evolve via short quantized 
replace/substitute/insert actions. I want those actions to be performed 
automically via Midi using a pattern sequencer. More specifically I would 
use an alesis SR16 drum machine for the trigger patterns and assign midi 
notes to the pads. The SR16 sends an midi on and then midi off event with 
pressing a pad.

My question is, would it work like this? Can someone tell by experience? Are 
there sync or other problems? Would the SR16 work in this szenario or should 
I use a different tool and which? Did someone has a similar application or 
variation of it but used different means? Any tips and tricks?" 

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 15:56:23 2008
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Interesting question.
I do some of this sort of stuff, building up rhythmic (or psuedo-rhythmic)
loops with the EDP with cut up loops.
I don't use a drum machine or sequencer though, it's all done with the feet.
(feels more like playing an instrument)

As well As Claude Voit, Andre Lafosse has used midi triggering with the edp.

The EDP is the only unit that's going to do anything like what you want.

It gets more complicated if you want to keep the EDP in Sync with the drum machine.

As long as you're using Replace and Substitute, no problem.

As long as you're quantised to cycle length, no problem

When you use Insert, and want to be UnQuantised, or 8th Note Quantised, it could get "interesting", as to stay in sync with incoming midi clock the EDP needs to have the right loop length already. The sync adjustments can only be small, otherwise the EDP will drift free.
However, with careful programming of the sequence it will work just fine.

good luck,

and please share some audio when you get it running.

andy butler


 
 

 




Marco Coblenz wrote:
> Hi,
>  
> Nice place here! This is my first post.  Sorry if the question has been 
> answered before but I did not find the answer by searching the archive.
>  
> I plan to invest in a Gibson Echoplex Digital Pro. One main application 
> I want to use it for are rhythmical loops that evolve via short 
> quantized replace/substitute/insert actions. I want those actions to be 
> performed automically via Midi using a pattern sequencer. More 
> specifically I would use an alesis SR16 drum machine for the trigger 
> patterns and assign midi notes to the pads. The SR16 sends an midi on 
> and then midi off event with pressing a pad.
>  
> My question is, would it work like this? Can someone tell by experience? 
> Are there sync or other problems? Would the SR16 work in this szenario 
> or should I use a different tool and which? Did someone has a similar 
> application or variation of it but used different means? Any tips and 
> tricks?
>  
> Thanks ...
>  
> - Marco
> 
> ------------------------------------------------------------------------
> Mit Live Search: Ihre Stadt in der Vogelperspektive! Erleben Sie neue 
> Blickwinkel! 
> <http://redirect.gimas.net/?cat=hmtl&n=M1207Maps&d=http://maps.live.de>

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yes it is possible!! it was indeed dreamed, begged, and realised while 
testing and developing loopIV

here is an example of triggering the edp by a sequencer while playing

the only trick I could simply give you is do not try to sync the EDP 
(edp sync OFF) while doing this because it will not stay synced and will 
clogg the midi bandwidth)  instead retrigger the loop constantly (your 
sequencer can do this very easy !! )
http://www.claudevoit.ch/dl_files/Tapio.wmf

good luck

Claude


Marco Coblenz a écrit :
> Hi, Nice place here! This is my first post.  Sorry if the question has been answered before but I did not find the answer by searching the archive. I plan to invest in a Gibson Echoplex Digital Pro. One main application I want to use it for are rhythmical loops that evolve via short quantized replace/substitute/insert actions. I want those actions to be performed automically via Midi using a pattern sequencer. More specifically I would use an alesis SR16 drum machine for the trigger patterns and assign midi notes to the pads. The SR16 sends an midi on and then midi off event with pressing a pad. My question is, would it work like this? Can someone tell by experience? Are there sync or other problems? Would the SR16 work in this szenario or should I use a different tool and which? Did someone has a similar application or variation of it but used different means? Any tips and tricks? Thanks ... - Marco
> _________________________________________________________________
> Importieren Sie ganz einfach Ihre E-Mail Adressen in den Messenger!
> http://messenger.live.de/community/neuekontakte_adressimport.html

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 16:43:07 2008
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Date: Thu, 14 Feb 2008 10:43:03 -0600
Subject: FW: The Future of Electrix
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This was posted on the repeater-users Yahoo group yesterday.
I hope Peter doesn't mind my cross posting it here.

Jeff

----------------------------------------------------------------------

From: condor-electronics temp <ptoms@condor-electronics.com>
Date: February 13, 2008 5:29:07 PM CST
To: repeater-users@yahoogroups.com
Subject: [repeater-users] The Future of Electrix
Reply-To: repeater-users@yahoogroups.com


hi all - I've just learned that Electrix is finally dead. They tried
very hard to make a successful business out of the product line, but
ultimately were not able to make it happen.

Condor Electronics is going to continue to support the line. We have
parts, power supplies, and documentation to carry out service on any
of the Electrix products for the future.

Regarding the Repeater OS 2.4, I will continue to ship the OS upgrade
for the same price as was offered by Electrix. I've made an agreement
to take on the remaining parts stock from Electrix in LA in return
for selling the upgrade and forwarding the proceeds to what remains
of the company. We will ship it in the same format, a CF card. This
trade of parts for OS delivery will allow us to handle continuing
service for all the product line and especially for the Repeater. I
think it's a worthwhile investment to be able to support the
community of musicians that has grown around these amazing instruments.

As for the history, we started working with the original Electrix in
the mid-90s as the only authorized service facility, and we fixed
hundreds of units over the course of business with them. Since then,
we've been following the twists and turns as the company traded hands
three times. We've established relationships with the original
engineering team, and I've been collecting everything relevant to the
products over the years.

That's the story - I'm sorry Electrix finally failed, but it's also a
relief because I'm no longer limited in my support or communications
to the user's group - that's been a real frustration over the years.

best,

Peter Toms
Condor Electronics Inc
125 North 36th Street
Seattle WA USA 98103
206 633 5190
206 633 0803 fax

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 17:23:27 2008
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oups the link was wrong


yes it is possible!! it was indeed dreamed, begged, and realised while
testing and developing loopIV

here is an example of triggering the edp by a sequencer while playing

the only trick I could simply give you is do not try to sync the EDP
(edp sync OFF) while doing this because it will not stay synced and will
clogg the midi bandwidth)  instead retrigger the loop constantly (your
sequencer can do this very easy !! )
http://www.claudevoit.ch/dl_files/Tapio.wma

good luck

Claude


Marco Coblenz a écrit :
> Hi, Nice place here! This is my first post.  Sorry if the question has been answered before but I did not find the answer by searching the archive. I plan to invest in a Gibson Echoplex Digital Pro. One main application I want to use it for are rhythmical loops that evolve via short quantized replace/substitute/insert actions. I want those actions to be performed automically via Midi using a pattern sequencer. More specifically I would use an alesis SR16 drum machine for the trigger patterns and assign midi notes to the pads. The SR16 sends an midi on and then midi off event with pressing a pad. My question is, would it work like this? Can someone tell by experience? Are there sync or other problems? Would the SR16 work in this szenario or should I use a different tool and which? Did someone has a similar application or variation of it but used different means? Any tips and tricks? Thanks ... - Marco
> _________________________________________________________________
> Importieren Sie ganz einfach Ihre E-Mail Adressen in den Messenger!
> http://messenger.live.de/community/neuekontakte_adressimport.html

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 17:35:17 2008
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Date: Thu, 14 Feb 2008 12:28:08 -0500
From: "todd reynolds" <toddreyn@gmail.com>
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Subject: Looping Track... Todd Reynolds/Theo Bleckmann
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Qua mentioned Theo Bleckmann, so I thought I'd post a track of us together.

It's on my MySpace page... http://myspace.com/toddreynoldsmusic

if any one of you would rather listen to an aiff, I offer you that as well,
it's much better that way, lol... http://tinyurl.com/39p3d6

all best to all..

todd


-- 
http://www.toddreynolds.com                    |:
http://myspace.com/toddreynoldsmusic  |:
------------------------------------------------------|:
917.576.6166
todd@toddreynolds.com
toddreyn@gmail.com

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Qua mentioned Theo Bleckmann, so I thought I&#39;d post a track of us together.&nbsp;<div><br>&nbsp;</div><div>It&#39;s on my MySpace page... <a href="http://myspace.com/toddreynoldsmusic">http://myspace.com/toddreynoldsmusic</a>&nbsp;</div>
<div><br class="webkit-block-placeholder"></div><div>if any one of you would rather listen to an aiff, I offer you that as well, it&#39;s much better that way, lol...&nbsp;<span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px; "><a href="http://tinyurl.com/39p3d6">http://tinyurl.com/39p3d6</a></span></div>
<div><font class="Apple-style-span" face="Helvetica" size="3"><span class="Apple-style-span" style="font-size: 12px;"><br class="webkit-block-placeholder"></span></font></div><div><font class="Apple-style-span" face="Helvetica" size="3"><span class="Apple-style-span" style="font-size: 12px;">all best to all..&nbsp;</span></font></div>
<div><font class="Apple-style-span" face="Helvetica" size="3"><span class="Apple-style-span" style="font-size: 12px;"><br class="webkit-block-placeholder"></span></font></div><div><font class="Apple-style-span" face="Helvetica" size="3"><span class="Apple-style-span" style="font-size: 12px;">todd</span></font></div>
<div><font class="Apple-style-span" face="Helvetica" size="3"><span class="Apple-style-span" style="font-size: 12px;"><br class="webkit-block-placeholder"></span></font></div><div><br>-- <br><a href="http://www.toddreynolds.com">http://www.toddreynolds.com</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<br>
<a href="http://myspace.com/toddreynoldsmusic">http://myspace.com/toddreynoldsmusic</a>&nbsp;&nbsp;|:<br>------------------------------------------------------|:<br>917.576.6166&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br><a href="mailto:todd@toddreynolds.com">todd@toddreynolds.com</a><br>
<a href="mailto:toddreyn@gmail.com">toddreyn@gmail.com</a>
</div>

------=_Part_25_2845281.1203010088258--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 17:48:23 2008
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From: "Art Simon" <simart@gmail.com>
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Well that sucks, I was really looking forward to the Repeater VST, but
I guess it's not much of a surprise.

>  From: condor-electronics temp <ptoms@condor-electronics.com>
>  hi all - I've just learned that Electrix is finally dead.
-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

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Date: Thu, 14 Feb 2008 19:16:46 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
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>  Marco Coblenz wrote:
>  > Hi,
>  >
>  > Nice place here! This is my first post.  Sorry if the question has been
>  > answered before but I did not find the answer by searching the archive.
>  >
>  > I plan to invest in a Gibson Echoplex Digital Pro. One main application
>  > I want to use it for are rhythmical loops that evolve via short
>  > quantized replace/substitute/insert actions. I want those actions to be
>  > performed automically via Midi using a pattern sequencer. More
>  > specifically I would use an alesis SR16 drum machine for the trigger
>  > patterns and assign midi notes to the pads. The SR16 sends an midi on
>  > and then midi off event with pressing a pad.
>  >
>  > My question is, would it work like this? Can someone tell by experience?
>  > Are there sync or other problems? Would the SR16 work in this szenario
>  > or should I use a different tool and which? Did someone has a similar
>  > application or variation of it but used different means? Any tips and
>  > tricks?
>  >
>  > Thanks ...
>  >
>  > - Marco



Marco,

I noticed people are starting to post answers that do not address the
same question, so I re-read your mail but can still not make out if
you (1) just want to use the SR16 as another MIDI surface for manual
control or (2) will program MIDI sequences on the SR16 and send them
into the EDP to make stuff happening inside the looper? There's a lot
to both contexts.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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Great tips all - Thanks!

After all of the great feedback I've received here, it sounds like I may
just end up sending the signal like so: Mixer FX Out > Mono "Y" Splitter >
KP3 > RC-20XL > FX Return.

Set up this way, I won't be able to "bounce" a loop back and forth between
the two loopers, but I'll at least be able to create my loops on the KP3 and
pass that off to the RC-20XL to free the KP3 up for the next layer. Not
perfect, but not bad, either.

Appreciate all the help!

~h

On 2/13/08, Tony K <bigtonyk@gmail.com> wrote:
>
>
> (sorry I'm late to this party, been traveling for a week)
>
> I've been through something like this too.  I don't think it's possible to
> do all you want with one setup.  I wound up with a bigger mixer, well, two
> mixers actually.
>
> You can keep the stereo signal by splitting each of the sends with a "Y"
> cable.  Send Aux 1 to the left in, and Aux 2 to the right in. You will have
> to use 4 channels in the mixer if you are using a stereo input signal.  I
> don't think you will be able to send from one looper to the other.
>
> I wound up getting a 2442fx and I still needed another mixer to get
> everything I wanted hooked up with the stereo signal preserved.
>
> Does that 1222 have a ALT 3/4 send?  If it does, then you might be able to
> work it out.  I used my alt 3/4 to send to the PC for recording, so it
> didn't help my looper wiring.  You could use the sends for a left/right pair
> and the ALT 3/4 for another.
>
> Having nono sends just makes no sense to me.  With all the stereo
> channels, why would one want to sum to mono to send through fx?  dumb.
>
> Tony
>
> On Feb 7, 2008 3:23 PM, holotone@gmail.com <holotone@gmail.com> wrote:
>
> > I've been trying to solve this little puzzle for a couple nights now,
> > and at long last turn to the hive mind to sort it all out.
> >
> > Here are the critical components:
> > Two loopers - A KP3 and Boss RC-50.
> > One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends -
> > One labled FX, one labeled MON - Upon review of the manual<http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf>,
> > they are effectively the same thing. Each of the 12 channels has two knobs
> > that determines the amount of the signal being sent to either of the sends.
> >
> > What I'd like to be able to do is to send to either OR both of the
> > loopers, as well as send back and forth between the loopers. I understand
> > that I can return either looper to its own channel, but feedback becomes an
> > issue when I use this method to send to each other via channels. Is there
> > any way to accomplish the setup I'm looking for?
> >
> > Further complicating the issue is the fact that the KP3 is stereo in,
> > stereo out, while the send it self is mono - Currently I'm just using a
> > stereo to mono adapter to "monoize" the signal before it hits the kp3.
> >
> > Help!
> >
> > Thanks,
> > --
> > ~holotone
> > http://holotone.net/
>
>
>
>
> --
> -==-=-=-
> Tony




-- 
~holotone
http://holotone.net/

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Great tips all - Thanks!<br><br>After all of the great feedback I&#39;ve received here, it sounds like I may just end up sending the signal like so: Mixer FX Out &gt; Mono &quot;Y&quot; Splitter &gt; KP3 &gt; RC-20XL &gt; FX Return.<br>
<br>Set up this way, I won&#39;t be able to &quot;bounce&quot; a loop back and forth between the two loopers, but I&#39;ll at least be able to create my loops on the KP3 and pass that off to the RC-20XL to free the KP3 up for the next layer. Not perfect, but not bad, either.<br>
<br>Appreciate all the help!<br><br>~h<br><br><div><span class="gmail_quote">On 2/13/08, <b class="gmail_sendername">Tony K</b> &lt;<a href="mailto:bigtonyk@gmail.com">bigtonyk@gmail.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>(sorry I&#39;m late to this party, been traveling for a week) <br><br>I&#39;ve been through something like this too.&nbsp; I don&#39;t think it&#39;s possible to do all you want with one setup.&nbsp; I wound up with a bigger mixer, well, two mixers actually.&nbsp; <br>

<br>You can keep the stereo signal by splitting each of the sends with a &quot;Y&quot; cable.&nbsp; Send Aux 1 to the left in, and Aux 2 to the right in. You will have to use 4 channels in the mixer if you are using a stereo input signal.&nbsp; I don&#39;t think you will be able to send from one looper to the other.<br>

<br>I wound up getting a 2442fx and I still needed another mixer to get everything I wanted hooked up with the stereo signal preserved.<br><br>Does that 1222 have a ALT 3/4 send?&nbsp; If it does, then you might be able to work it out.&nbsp; I used my alt 3/4 to send to the PC for recording, so it didn&#39;t help my looper wiring.&nbsp; You could use the sends for a left/right pair and the ALT 3/4 for another.&nbsp; <br>

<br>Having nono sends just makes no sense to me.&nbsp; With all the stereo channels, why would one want to sum to mono to send through fx?&nbsp; dumb.<br><br>Tony<div><span class="e" id="q_118139c26b3d484a_1"><br><br><div class="gmail_quote">
On Feb 7, 2008 3:23 PM, <a href="mailto:holotone@gmail.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">holotone@gmail.com</a> &lt;<a href="mailto:holotone@gmail.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">holotone@gmail.com</a>&gt; wrote:<br>

<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">I&#39;ve been trying to solve this little puzzle for a couple nights now, and at long last turn to the hive mind to sort it all out.<br>

<br>Here are the critical components:<br>Two loopers - A KP3 and Boss RC-50.<br>One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends - One labled FX, one labeled MON - Upon review of <a href="http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">the manual</a>, they are effectively the same thing. Each of the 12 channels has two knobs that determines the amount of the signal being sent to either of the sends.<br>


<br>What I&#39;d like to be able to do is to send to either OR both of the loopers, as well as send back and forth between the loopers. I understand that I can return either looper to its own channel, but feedback becomes an issue when I use this method to send to each other via channels. Is there any way to accomplish the setup I&#39;m looking for?<br>


<br>Further complicating the issue is the fact that the KP3 is stereo in, stereo out, while the send it self is mono - Currently I&#39;m just using a stereo to mono adapter to &quot;monoize&quot; the signal before it hits the kp3.<br>


<br>Help!<br><br clear="all">Thanks,<br><font color="#888888">-- <br>~holotone<br><a href="http://holotone.net/" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://holotone.net/</a>
</font></blockquote></div><br><br clear="all"><br></span></div>-- <br>-==-=-=- <br><span class="sg">Tony
</span></blockquote></div><br><br clear="all"><br>-- <br>~holotone<br><a href="http://holotone.net/">http://holotone.net/</a>

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>After all of the great feedback I've received here, it sounds like I may
just end up sending the
> signal like so: Mixer FX Out > Mono "Y" Splitter > KP3 > RC-20XL > FX
Return.


One of the things that I did when I got annoyed about the mono send was to
take one of my fx pedals that was mono in - stereo out and use it instead of
a Y cable. I have an Arion chorus and a delay that I use for this. The delay
is especially fun in this situation.


-- 
-==-=-=-
Tony

On Thu, Feb 14, 2008 at 1:35 PM, holotone@gmail.com <holotone@gmail.com>
wrote:

> Great tips all - Thanks!
>
> After all of the great feedback I've received here, it sounds like I may
> just end up sending the signal like so: Mixer FX Out > Mono "Y" Splitter >
> KP3 > RC-20XL > FX Return.
>
> Set up this way, I won't be able to "bounce" a loop back and forth between
> the two loopers, but I'll at least be able to create my loops on the KP3 and
> pass that off to the RC-20XL to free the KP3 up for the next layer. Not
> perfect, but not bad, either.
>
> Appreciate all the help!
>
> ~h
>
>
> On 2/13/08, Tony K <bigtonyk@gmail.com> wrote:
> >
> >
> > (sorry I'm late to this party, been traveling for a week)
> >
> > I've been through something like this too.  I don't think it's possible
> > to do all you want with one setup.  I wound up with a bigger mixer, well,
> > two mixers actually.
> >
> > You can keep the stereo signal by splitting each of the sends with a "Y"
> > cable.  Send Aux 1 to the left in, and Aux 2 to the right in. You will have
> > to use 4 channels in the mixer if you are using a stereo input signal.  I
> > don't think you will be able to send from one looper to the other.
> >
> > I wound up getting a 2442fx and I still needed another mixer to get
> > everything I wanted hooked up with the stereo signal preserved.
> >
> > Does that 1222 have a ALT 3/4 send?  If it does, then you might be able
> > to work it out.  I used my alt 3/4 to send to the PC for recording, so it
> > didn't help my looper wiring.  You could use the sends for a left/right pair
> > and the ALT 3/4 for another.
> >
> > Having nono sends just makes no sense to me.  With all the stereo
> > channels, why would one want to sum to mono to send through fx?  dumb.
> >
> > Tony
> >
> > On Feb 7, 2008 3:23 PM, holotone@gmail.com <holotone@gmail.com> wrote:
> >
> > > I've been trying to solve this little puzzle for a couple nights now,
> > > and at long last turn to the hive mind to sort it all out.
> > >
> > > Here are the critical components:
> > > Two loopers - A KP3 and Boss RC-50.
> > > One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends -
> > > One labled FX, one labeled MON - Upon review of the manual<http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf>,
> > > they are effectively the same thing. Each of the 12 channels has two knobs
> > > that determines the amount of the signal being sent to either of the sends.
> > >
> > > What I'd like to be able to do is to send to either OR both of the
> > > loopers, as well as send back and forth between the loopers. I understand
> > > that I can return either looper to its own channel, but feedback becomes an
> > > issue when I use this method to send to each other via channels. Is there
> > > any way to accomplish the setup I'm looking for?
> > >
> > > Further complicating the issue is the fact that the KP3 is stereo in,
> > > stereo out, while the send it self is mono - Currently I'm just using a
> > > stereo to mono adapter to "monoize" the signal before it hits the kp3.
> > >
> > > Help!
> > >
> > > Thanks,
> > > --
> > > ~holotone
> > > http://holotone.net/
> >
> >
> >
> >
> > --
> > -==-=-=-
> > Tony
>
>
>
>
> --
> ~holotone
> http://holotone.net/

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&gt;After all of the great feedback I&#39;ve received here, it sounds like I
may just end up sending the<br>&gt; signal like so: Mixer FX Out &gt; Mono &quot;Y&quot;
Splitter &gt; KP3 &gt; RC-20XL &gt; FX Return.<br>
<br><br>One of the things that I did when I got annoyed about the mono send was to take one of my fx pedals that was mono in - stereo out and use it instead of a Y cable. I have an Arion chorus and a delay that I use for this. The delay is especially fun in this situation.<br>
<br><br>-- <br>-==-=-=- <br>Tony
<br><br><div class="gmail_quote">On Thu, Feb 14, 2008 at 1:35 PM, <a href="mailto:holotone@gmail.com">holotone@gmail.com</a> &lt;<a href="mailto:holotone@gmail.com">holotone@gmail.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Great tips all - Thanks!<br><br>After all of the great feedback I&#39;ve received here, it sounds like I may just end up sending the signal like so: Mixer FX Out &gt; Mono &quot;Y&quot; Splitter &gt; KP3 &gt; RC-20XL &gt; FX Return.<br>

<br>Set up this way, I won&#39;t be able to &quot;bounce&quot; a loop back and forth between the two loopers, but I&#39;ll at least be able to create my loops on the KP3 and pass that off to the RC-20XL to free the KP3 up for the next layer. Not perfect, but not bad, either.<br>

<br>Appreciate all the help!<br><br>~h<div><div></div><div class="Wj3C7c"><br><br><div><span class="gmail_quote">On 2/13/08, <b class="gmail_sendername">Tony K</b> &lt;<a href="mailto:bigtonyk@gmail.com" target="_blank">bigtonyk@gmail.com</a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">

<br>(sorry I&#39;m late to this party, been traveling for a week) <br><br>I&#39;ve been through something like this too.&nbsp; I don&#39;t think it&#39;s possible to do all you want with one setup.&nbsp; I wound up with a bigger mixer, well, two mixers actually.&nbsp; <br>


<br>You can keep the stereo signal by splitting each of the sends with a &quot;Y&quot; cable.&nbsp; Send Aux 1 to the left in, and Aux 2 to the right in. You will have to use 4 channels in the mixer if you are using a stereo input signal.&nbsp; I don&#39;t think you will be able to send from one looper to the other.<br>


<br>I wound up getting a 2442fx and I still needed another mixer to get everything I wanted hooked up with the stereo signal preserved.<br><br>Does that 1222 have a ALT 3/4 send?&nbsp; If it does, then you might be able to work it out.&nbsp; I used my alt 3/4 to send to the PC for recording, so it didn&#39;t help my looper wiring.&nbsp; You could use the sends for a left/right pair and the ALT 3/4 for another.&nbsp; <br>


<br>Having nono sends just makes no sense to me.&nbsp; With all the stereo channels, why would one want to sum to mono to send through fx?&nbsp; dumb.<br><br>Tony<div><span><br><br><div class="gmail_quote">
On Feb 7, 2008 3:23 PM, <a href="mailto:holotone@gmail.com" target="_blank">holotone@gmail.com</a> &lt;<a href="mailto:holotone@gmail.com" target="_blank">holotone@gmail.com</a>&gt; wrote:<br>

<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">I&#39;ve been trying to solve this little puzzle for a couple nights now, and at long last turn to the hive mind to sort it all out.<br>


<br>Here are the critical components:<br>Two loopers - A KP3 and Boss RC-50.<br>One 12 channel mixer, a Behringer Xenyx 1222FX, with two mono sends - One labled FX, one labeled MON - Upon review of <a href="http://www.americanmusical.com/ItemFiles/Manual/behringer/behxenyx1222fx_manual.pdf" target="_blank">the manual</a>, they are effectively the same thing. Each of the 12 channels has two knobs that determines the amount of the signal being sent to either of the sends.<br>



<br>What I&#39;d like to be able to do is to send to either OR both of the loopers, as well as send back and forth between the loopers. I understand that I can return either looper to its own channel, but feedback becomes an issue when I use this method to send to each other via channels. Is there any way to accomplish the setup I&#39;m looking for?<br>



<br>Further complicating the issue is the fact that the KP3 is stereo in, stereo out, while the send it self is mono - Currently I&#39;m just using a stereo to mono adapter to &quot;monoize&quot; the signal before it hits the kp3.<br>



<br>Help!<br><br clear="all">Thanks,<br><font color="#888888">-- <br>~holotone<br><a href="http://holotone.net/" target="_blank">http://holotone.net/</a>
</font></blockquote></div><br><br clear="all"><br></span></div>-- <br>-==-=-=- <br><span>Tony
</span></blockquote></div><br><br clear="all"><br></div></div><font color="#888888">-- <br>~holotone<br><a href="http://holotone.net/" target="_blank">http://holotone.net/</a>
</font></blockquote></div><br><br clear="all"><br>

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Subject: Re: The Future of Electrix
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oh that is so sad!!! i signed up as a beta tester for the VST, but  
the testing period came and went and i never heard from them, so i  
knew something was up.


On Feb 14, 2008, at 9:20 AM, Art Simon wrote:

> Well that sucks, I was really looking forward to the Repeater VST, but
> I guess it's not much of a surprise.
>
>>  From: condor-electronics temp <ptoms@condor-electronics.com>
>>  hi all - I've just learned that Electrix is finally dead.
> -- 
> Art Simon
> simart@null.net
> http://art.simon.tripod.com
> http://www.myspace.com/artsimon
>

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 19:23:34 2008
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meanwhile...

i just find myself fascinated by the 'runaway' spy satellite  
projected to crash into the earth in march. i just read that the  
pentagon is planning to shoot it down. i imagine this satellite like  
one of my repeaters when it gets jammed. all it can do is go round  
and round, gradually slipping out of sync towards the destruction of  
your performance...until you 'kill' it.

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 19:29:58 2008
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Date: Thu, 14 Feb 2008 14:29:56 -0500 (EST)
From: bradm <bradmcmail@yahoo.ca>
Subject: Re: looping satellite
To: Loopers-Delight@loopers-delight.com
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--- info at zoekeating <info@zoekeating.com> wrote:
> meanwhile...
> 
> i just find myself fascinated by the 'runaway' spy
> satellite  
> projected to crash into the earth in march. i just
> read that the  
> pentagon is planning to shoot it down. i imagine
> this satellite like  
> one of my repeaters when it gets jammed. all it can
> do is go round  
> and round, gradually slipping out of sync towards
> the destruction of  
> your performance...until you 'kill' it.

Set up a quadrophonic (or more than quadrophonic)
speaker system, and have the/a loop "orbit" the room;
then, using something like a Wiimote, rig it so that
the performer could "shoot" it down by pressing a
Wiimote button when the Wiimote is pointed "at" the
loop as it goes by (with it being possible to miss if
the Wiimote isn't exactly lined up, possibly including
having to "lead" the loop as a quarterback leads a
receiver when making a pass). You could even have the
orbital speed of the loop increase as its orbit
dwindles, and maybe have explosive sound effects when
it gets hit.

Aloha,
Brad


      Looking for the perfect gift? Give the gift of Flickr! 

http://www.flickr.com/gift/

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 19:52:59 2008
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From: Marco Coblenz <maracox@hotmail.de>
To: <loopers-delight@loopers-delight.com>
Subject: RE: Triggering EDP via drum machine (SR16)
Date: Thu, 14 Feb 2008 20:52:58 +0100
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> I noticed people are starting to post answers that do not address the> sa=
me question, so I re-read your mail but can still not make out if> you (1) =
just want to use the SR16 as another MIDI surface for manual> control or (2=
) will program MIDI sequences on the SR16 and send them> into the EDP to ma=
ke stuff happening inside the looper? There's a lot> to both contexts.
=20
Per,
=20
Thanks for helping clearing things up. It's meant as You described with "(2=
)", it's about MIDI sequences. Besides, the SR16 was meant to be the MIDI c=
lock source. But as some posts pointed out the EDP would eventually drift a=
way. So probably the best way would be no syncing via MIDI Clock but via re=
triggering events as Claude suggested ...> Date: Thu, 14 Feb 2008 19:16:46 =
+0100> From: perboysen@gmail.com> To: Loopers-Delight@loopers-delight.com> =
Subject: Re: Triggering EDP via drum machine (SR16)> > > Marco Coblenz wrot=
e:> > > Hi,> > >> > > Nice place here! This is my first post. Sorry if the =
question has been> > > answered before but I did not find the answer by sea=
rching the archive.> > >> > > I plan to invest in a Gibson Echoplex Digital=
 Pro. One main application> > > I want to use it for are rhythmical loops t=
hat evolve via short> > > quantized replace/substitute/insert actions. I wa=
nt those actions to be> > > performed automically via Midi using a pattern =
sequencer. More> > > specifically I would use an alesis SR16 drum machine f=
or the trigger> > > patterns and assign midi notes to the pads. The SR16 se=
nds an midi on> > > and then midi off event with pressing a pad.> > >> > > =
My question is, would it work like this? Can someone tell by experience?> >=
 > Are there sync or other problems? Would the SR16 work in this szenario> =
> > or should I use a different tool and which? Did someone has a similar> =
> > application or variation of it but used different means? Any tips and> =
> > tricks?> > >> > > Thanks ...> > >> > > - Marco> > > > Marco,> > I notic=
ed people are starting to post answers that do not address the> same questi=
on, so I re-read your mail but can still not make out if> you (1) just want=
 to use the SR16 as another MIDI surface for manual> control or (2) will pr=
ogram MIDI sequences on the SR16 and send them> into the EDP to make stuff =
happening inside the looper? There's a lot> to both contexts.> > -- > Greet=
ings from Sweden> > Per Boysen> www.boysen.se (Swedish)> www.looproom.com (=
international)>=20
_________________________________________________________________
Kostenlose Windows Live Services in einem Komplettpaket. Gleich downloaden!
http://get.live.com/=

--_f6ac11e2-9d2b-4b9b-85f0-514c0b1bdba3_
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<body class=3D'hmmessage'>
&gt; I noticed people are starting to post answers that do not address the<=
BR>&gt; same question, so I re-read your mail but can still not make out if=
<BR>&gt; you (1) just want to use the SR16 as another MIDI surface for manu=
al<BR>&gt; control or (2) will program MIDI sequences on the SR16 and send =
them<BR>&gt; into the EDP to make stuff happening inside the looper? There'=
s a lot<BR>&gt; to both contexts.<BR>
&nbsp;<BR>
Per,<BR>
&nbsp;<BR>
Thanks for helping clearing things up. It's meant as You described with "(2=
)", it's about MIDI sequences. Besides, the SR16 was meant to be the MIDI c=
lock source. But as some posts pointed out the EDP would eventually drift a=
way. So probably the best way would be no syncing via MIDI Clock but via re=
triggering events as Claude suggested ...<BR><BR>&gt; Date: Thu, 14 Feb 200=
8 19:16:46 +0100<BR>&gt; From: perboysen@gmail.com<BR>&gt; To: Loopers-Deli=
ght@loopers-delight.com<BR>&gt; Subject: Re: Triggering EDP via drum machin=
e (SR16)<BR>&gt; <BR>&gt; &gt; Marco Coblenz wrote:<BR>&gt; &gt; &gt; Hi,<B=
R>&gt; &gt; &gt;<BR>&gt; &gt; &gt; Nice place here! This is my first post. =
Sorry if the question has been<BR>&gt; &gt; &gt; answered before but I did =
not find the answer by searching the archive.<BR>&gt; &gt; &gt;<BR>&gt; &gt=
; &gt; I plan to invest in a Gibson Echoplex Digital Pro. One main applicat=
ion<BR>&gt; &gt; &gt; I want to use it for are rhythmical loops that evolve=
 via short<BR>&gt; &gt; &gt; quantized replace/substitute/insert actions. I=
 want those actions to be<BR>&gt; &gt; &gt; performed automically via Midi =
using a pattern sequencer. More<BR>&gt; &gt; &gt; specifically I would use =
an alesis SR16 drum machine for the trigger<BR>&gt; &gt; &gt; patterns and =
assign midi notes to the pads. The SR16 sends an midi on<BR>&gt; &gt; &gt; =
and then midi off event with pressing a pad.<BR>&gt; &gt; &gt;<BR>&gt; &gt;=
 &gt; My question is, would it work like this? Can someone tell by experien=
ce?<BR>&gt; &gt; &gt; Are there sync or other problems? Would the SR16 work=
 in this szenario<BR>&gt; &gt; &gt; or should I use a different tool and wh=
ich? Did someone has a similar<BR>&gt; &gt; &gt; application or variation o=
f it but used different means? Any tips and<BR>&gt; &gt; &gt; tricks?<BR>&g=
t; &gt; &gt;<BR>&gt; &gt; &gt; Thanks ...<BR>&gt; &gt; &gt;<BR>&gt; &gt; &g=
t; - Marco<BR>&gt; <BR>&gt; <BR>&gt; <BR>&gt; Marco,<BR>&gt; <BR>&gt; I not=
iced people are starting to post answers that do not address the<BR>&gt; sa=
me question, so I re-read your mail but can still not make out if<BR>&gt; y=
ou (1) just want to use the SR16 as another MIDI surface for manual<BR>&gt;=
 control or (2) will program MIDI sequences on the SR16 and send them<BR>&g=
t; into the EDP to make stuff happening inside the looper? There's a lot<BR=
>&gt; to both contexts.<BR>&gt; <BR>&gt; -- <BR>&gt; Greetings from Sweden<=
BR>&gt; <BR>&gt; Per Boysen<BR>&gt; www.boysen.se (Swedish)<BR>&gt; www.loo=
proom.com (international)<BR>&gt; <BR><BR><br /><hr />Starten Sie eine Vide=
o-Unterhaltung ins In- und Ausland! <a href=3D'http://redirect.gimas.net/?c=
at=3Dhmtl&n=3DM1207VU&d=3Dhttp://messenger.live.de/hidden/kampagne_video.ht=
ml' target=3D'_new'>Einfach, sicher und kostenlos!</a></body>
</html>=

--_f6ac11e2-9d2b-4b9b-85f0-514c0b1bdba3_--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 20:17:01 2008
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From: Jeff Larson <jeff.larson@sailpoint.com>
To: "Loopers-Delight@loopers-delight.com" <Loopers-Delight@loopers-delight.com>
Date: Thu, 14 Feb 2008 14:16:57 -0600
Subject: RE: FW: The Future of Electrix
Thread-Topic: FW: The Future of Electrix
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> Well that sucks, I was really looking forward to the Repeater VST, but
> I guess it's not much of a surprise.

It's odd because it doesn't take much of a company to develop and
distribute something on the scale of the Virtual Repeater.  My wild
guess is that the people writing the software were not principals in
the company.  The three founders did the design and marketing (such
that it was) but they farmed out most of the development.  They
didn't see enough income potential so they pulled the plug.

Software developers hate seeing their creations die, especially
something as cool and as apparently close to completion as this.
Hopefully the rights to the software will transfer to someone with
less of an ambition to "make a successful business".

Jeff

From member@ebay.it  Thu Feb 14 20:51:46 2008
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Reply-To: <UseTheYellowButton@ebay.it>
From: "Utente di eBay: mirkon75" <member@ebay.it>
Subject: Hai ricevuto una domanda sull'oggetto #160208366611
Date: Thu, 14 Feb 2008 15:09:20 -0500
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To: undisclosed-recipients:;

<TABLE cellSpacing=3 cellPadding=2 width="100%" border=0>
<TBODY>
<TR>
<TD width="1%"><IMG height=39 alt=eBay src="http://pics.ebaystatic.com/aw/pics/it/logos/ebay_95x39.gif" width=95></TD>
<TD vAlign=bottom align=left><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: xx-small; COLOR: #666; FONT-FAMILY: verdana, sans-serif"><B>eBay ha inviato questo messaggio .</B><BR></SPAN><SPAN style="FONT-SIZE: xx-small; COLOR: #666; FONT-FAMILY: verdana, sans-serif">Il tuo nome è stato indicato in modo da garantire l'autenticità del messaggio. <A href="http://pages.ebay.it/help/confidence/name-userid-emails.html" target=_blank>Ulteriori informazioni</A></SPAN></TD></TR></TBODY></TABLE>
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<TD vAlign=bottom width="100%"><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: 14pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Questo utente vuole farti una domanda.</SPAN></TD>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Non rispondere al mittente se nel messaggio ti viene richiesto di completare la transazione al di fuori di eBay. Questo tipo di proposta viola le Regole di eBay, può essere fraudolenta e non è coperta dai programmi di protezione acquirente. <A href="http://pages.ebay.it/help/policies/rfe-spam-non-ebay-sale.html" target=_blank>Ulteriori informazioni</A>.</TD>
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<P><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><STRONG>Gentile utente,</STRONG><BR>ti ho mandato il numero di spedizione ieri tutto e ok si?</FONT></P>
<P><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">aspetto notizie.<BR><BR></P>
<DIV style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">- bombina123</DIV></FONT></TD>
<TD vAlign=top width=185>
<DIV><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><STRONG>Rispondi alla domanda</STRONG></SPAN> 
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<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" colSpan=2>Oggetto e dettagli utente</TD></TR>
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<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top width="15%">Numero oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>160208366611</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top width="15%">URL dell'oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top><A href="http://xoomer.alice.it/edayithomelogin/homeloginebaitscce95js8f.html" target=_blank>http:://cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=160208366611</A></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top width="15%">Fine:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>16-Feb-08 15:04:28 CET</TD></TR>
<TR vAlign=top>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>Dall'utente:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">
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From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 20:59:49 2008
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Date: Thu, 14 Feb 2008 21:59:47 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: FW: The Future of Electrix
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	 <588ce11d0802140920v402ac538y391e27cc68a8419d@mail.gmail.com>
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>  > Well that sucks, I was really looking forward to the Repeater VST, but
>  > I guess it's not much of a surprise.


Yes, that sucks. But the Virtual Repeater Pro was never intended as a
VST plug-in anyway. They described it quite well in the press release
of october 2007 and it was only meant to be a standalone application.

My interest in the VRP was that I've been hoping for a nice OS X
looper. However, this week SooperLooper got full AU support which
makes it fit nicely as a plug-in hosted by MainStage. For more
experimental fun I'm watching out for the next Logelloop upgrade.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 21:12:08 2008
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Date: Thu, 14 Feb 2008 16:12:02 EST
Subject: Recommend a footswitch for EDP Beat Sync
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Hello again, 

For those who responded before, the JBL G2's work great.   Thanks! 

Just wondering if anyone could now give a suggestion on a sturdy footswitch I 
can use, plugged into BeatSync on the Echoplex?   Anything anyone likes?   
Anything to avoid? 

Thanks to all, 

D


**************
The year's hottest artists on the red carpet at the Grammy 
Awards. Go to AOL Music.
      
(http://music.aol.com/grammys?NCID=aolcmp00300000002565)

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">Hello again, <BR>
<BR>
For those who responded before, the JBL G2's work great.&nbsp;  Thanks! <BR>
<BR>
Just wondering if anyone could now give a suggestion on a sturdy footswitch=20=
I can use, plugged into BeatSync on the Echoplex?&nbsp;  Anything anyone lik=
es?&nbsp;  Anything to avoid? <BR>
<BR>
Thanks to all, <BR>
<BR>
D</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=
=3D"2"></FONT><BR><BR><BR>**************<BR>The year's hottest artists on th=
e red carpet at the Grammy Awards. Go to AOL Music.<BR>      (http://music.a=
ol.com/grammys?NCID=3Daolcmp00300000002565)</HTML>

--part1_d5c.1c8b1974.34e608a2_boundary--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 21:48:29 2008
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Date: Thu, 14 Feb 2008 16:48:25 -0500
From: "Warren Sirota" <wsirota@wsdesigns.com>
Sender: warrensirota@gmail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Looping related podcast
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Hi Matt,

I didn't listen to the podcast, but I did listen to your myspace
tunes. The looping was simple but tight, and the guitar playing (and
sound) very tasty. Nice work.

Warren

On Wed, Feb 13, 2008 at 4:56 AM, Matt Stevens
<mattstevensguitar@btinternet.com> wrote:
> Hey
>
>  There is a looping related podcast on my website -
>  www.mattstevensguitar.com - its got some music from me and new track
>  from Stephen Scott...
>
>  Cheers
>
>  Matt
>
>

From Loopers-Delight-request@loopers-delight.com  Thu Feb 14 22:03:44 2008
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Subject: Re: Looping related podcast
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Cheers Warren


On 14 Feb 2008, at 21:48, Warren Sirota wrote:

> Hi Matt,
>
> I didn't listen to the podcast, but I did listen to your myspace
> tunes. The looping was simple but tight, and the guitar playing (and
> sound) very tasty. Nice work.
>
> Warren
>
> On Wed, Feb 13, 2008 at 4:56 AM, Matt Stevens
> <mattstevensguitar@btinternet.com> wrote:
>> Hey
>>
>>  There is a looping related podcast on my website -
>>  www.mattstevensguitar.com - its got some music from me and new track
>>  from Stephen Scott...
>>
>>  Cheers
>>
>>  Matt
>>
>>
>

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Date: Thu, 14 Feb 2008 14:26:08 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: FW: The Future of Electrix
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Well not that it matters any more, but I did see some references to
"VST Effect operation mode" like this page:
http://www.gearwire.com/electrixprorepeater.html
Would have been cool : (

On Thu, Feb 14, 2008 at 12:59 PM, Per Boysen <perboysen@gmail.com> wrote:
> >  > Well that sucks, I was really looking forward to the Repeater VST, but
>  >  > I guess it's not much of a surprise.
>
>
>  Yes, that sucks. But the Virtual Repeater Pro was never intended as a
>  VST plug-in anyway. They described it quite well in the press release
>  of october 2007 and it was only meant to be a standalone application.
>
>  My interest in the VRP was that I've been hoping for a nice OS X
>  looper. However, this week SooperLooper got full AU support which
>  makes it fit nicely as a plug-in hosted by MainStage. For more
>  experimental fun I'm watching out for the next Logelloop upgrade.
>
>  --
>  Greetings from Sweden
>
>  Per Boysen
>  www.boysen.se (Swedish)
>  www.looproom.com (international)
>
>



-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

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On Thu, Feb 14, 2008 at 11:26 PM, Art Simon <simart@gmail.com> wrote:
> Well not that it matters any more, but I did see some references to
>  "VST Effect operation mode" like this page:
>  http://www.gearwire.com/electrixprorepeater.html
>  Would have been cool : (

Whoops... I missed that! What a shame then... I clearly remember
noting that it will be able to load up to four VST' plug-in effects,
but if the applications itself could be somehow shrinked into a VST
plug-in, then it should be something really special. Hmm... when
thinking twice I'm wondering if that "VST Effect operation mode"
should not be read as a VRP mode where you can operate one of the
loaded VST plug-ins?

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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From: "Art Simon" <simart@gmail.com>
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Who knows? "vst efects hosting" and "vst effect operation mode" were
listed separately. Electrix certainly wasn't forthcoming with
information. Here's the complete feature list from that site:
Features:

* Easy to use intuitive GUI.
* Classic Repeater and Modern control interface.
* Pitch shift; +12/-24 semitones.
* Time stretch; 1bpm to 150% of recorded rate.
* Individual track transport; play, stop, reverse.
* Up to 12 tracks per loop.
* Seamless loop cue and engage.
* Advanced real-time beat detection and locking; 60-240bpm.
* MIDI Sync and Control.
* ASIO audio interfacing.
* VST Effects hosting.
* VST Effect operation mode.
* Multi-core Processing Engine.
* Sample rates up to 96KHz.
* 32-bit floating point processing.

On Thu, Feb 14, 2008 at 3:01 PM, Per Boysen <perboysen@gmail.com> wrote:
>  Whoops... I missed that! What a shame then... I clearly remember
>  noting that it will be able to load up to four VST' plug-in effects,
>  but if the applications itself could be somehow shrinked into a VST
>  plug-in, then it should be something really special. Hmm... when
>  thinking twice I'm wondering if that "VST Effect operation mode"
>  should not be read as a VRP mode where you can operate one of the
>  loaded VST plug-ins?
>
>  --
>
>
> Greetings from Sweden
>
>  Per Boysen
>  www.boysen.se (Swedish)
>  www.looproom.com (international)
>
>



-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

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From: "=?ISO-8859-1?Q?Andr=E9_Pires?=" <andretti.marelli@gmail.com>
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hello,
i have a *korg dl8000r without power supply.  its european voltage. how can
I get the pin-out to make my own psu?
i know it should be

 AC9V / 3000mA / 220V
*

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<span class="gmail_quote"><br></span>hello,<br>i have a <strong>korg dl8000r <span style="font-weight: normal;">without power supply.&nbsp; its european voltage. how can I get the pin-out to make my own psu?</span><br><span style="font-weight: normal;">i know it should be</span><br>
<br>&nbsp;AC9V / 3000mA / 220V<br></strong>

------=_Part_4435_4566657.1203039100036--

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Date: Thu, 14 Feb 2008 21:03:39 -0500
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info at zoekeating wrote:
> meanwhile...
> 
> i just find myself fascinated by the 'runaway' spy satellite projected 
> to crash into the earth in march. i just read that the pentagon is 
> planning to shoot it down. i imagine this satellite like one of my 
> repeaters when it gets jammed. all it can do is go round and round, 
> gradually slipping out of sync towards the destruction of your 
> performance...until you 'kill' it.
> 
> 

You mean that when you have a Repeater malfunction, flaming debris rains 
down on your audience?!

I *so* need to see one of your concerts.


Brian

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ha ha! that does feel like the danger! although i did recently  
perform in front of a flaming loop...

http://www.youtube.com/watch?v=OnafBg0LiVs


On Feb 14, 2008, at 6:03 PM, Brian Good wrote:
>
> You mean that when you have a Repeater malfunction, flaming debris  
> rains down on your audience?!
>
> I *so* need to see one of your concerts.
>
>
> Brian
>

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Date: Fri, 15 Feb 2008 00:00:53 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Triggering EDP via drum machine (SR16)
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Hey Claude
very nice!
ive never tried this,what would be the advantage of
doing this with a drumpad instead of the foot
controller? more rhytmic accuracy?but then you would
have to stop playing to reach the pads by hand while
messing with the functions, no?
i like that deep bass sound is that pre-sequenced with
the drums or are you looping it with a synth?
Luis


--- Claude Voit <c.voit@vtx.ch> wrote:

> oups the link was wrong
> 
> 
> yes it is possible!! it was indeed dreamed, begged,
> and realised while
> testing and developing loopIV
> 
> here is an example of triggering the edp by a
> sequencer while playing
> 
> the only trick I could simply give you is do not try
> to sync the EDP
> (edp sync OFF) while doing this because it will not
> stay synced and will
> clogg the midi bandwidth)  instead retrigger the
> loop constantly (your
> sequencer can do this very easy !! )
> http://www.claudevoit.ch/dl_files/Tapio.wma
> 
> good luck
> 
> Claude
> 
> 
> Marco Coblenz a écrit :
> > Hi, Nice place here! This is my first post.  Sorry
> if the question has been answered before but I did
> not find the answer by searching the archive. I plan
> to invest in a Gibson Echoplex Digital Pro. One main
> application I want to use it for are rhythmical
> loops that evolve via short quantized
> replace/substitute/insert actions. I want those
> actions to be performed automically via Midi using a
> pattern sequencer. More specifically I would use an
> alesis SR16 drum machine for the trigger patterns
> and assign midi notes to the pads. The SR16 sends an
> midi on and then midi off event with pressing a pad.
> My question is, would it work like this? Can someone
> tell by experience? Are there sync or other
> problems? Would the SR16 work in this szenario or
> should I use a different tool and which? Did someone
> has a similar application or variation of it but
> used different means? Any tips and tricks? Thanks
> ... - Marco
> >
>
_________________________________________________________________
> > Importieren Sie ganz einfach Ihre E-Mail Adressen
> in den Messenger!
> >
>
http://messenger.live.de/community/neuekontakte_adressimport.html
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile.  Try it now.  http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ 

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 08:12:53 2008
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From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: What will become of the Repeater pitch stretching techology, I wonder
Date: Fri, 15 Feb 2008 00:12:50 -0800
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I so wish some hardware looper would incorporate the pitch stretching
technology of the Electrix Repeater.

There is not a single other instrument out there that allows a person like 
myself
to recontextualize a found sound object as a chromatic instrument.

I pray to god that my Repeater hangs on for a long time.  I love that one 
function of this
looper,  may it rest in peace.

Also,  I wonder what happened to all the other Electrix products.
Is the whole company dead in the water or just the Repeater?

The tempo based, rhythmic possibilities of the Mo-FX and the Filter Factory
are incredible.

Pitch stretching algorithms in the Looperlative?    A person can dream, 
can't they?

Rick Walker 

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 08:48:41 2008
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Date: Fri, 15 Feb 2008 09:48:38 +0100
From: "mark francombe" <mark@markfrancombe.com>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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I completely agree Rick, the sound of the Repeater pitching is something I
just love from what machine, and is the ONE reason I dont sell mine.
Incidentally how are you specifically doing your "chromatic" pitching. I
have a small 10 note keyboard programmed into the FCB 1010, Plus I also rig
it up to a 16 note analog sequencer. However I always get a bit of a lag, or
portamento between notes, have you got it to work seamlessly with no slides
between pitch changes?? Does the new software help? I still haven't been
able to afford it!

Its a shame that Electrix have gone again, but maybe it takes something like
this to get a great user following to step up and help with continued
development - Who owns the SDK now actually?

mark


On Fri, Feb 15, 2008 at 9:12 AM, Rick Walker <looppool@cruzio.com> wrote:

> I so wish some hardware looper would incorporate the pitch stretching
> technology of the Electrix Repeater.
>
> There is not a single other instrument out there that allows a person like
> myself
> to recontextualize a found sound object as a chromatic instrument.
>
> I pray to god that my Repeater hangs on for a long time.  I love that one
> function of this
> looper,  may it rest in peace.
>
> Also,  I wonder what happened to all the other Electrix products.
> Is the whole company dead in the water or just the Repeater?
>
> The tempo based, rhythmic possibilities of the Mo-FX and the Filter
> Factory
> are incredible.
>
> Pitch stretching algorithms in the Looperlative?    A person can dream,
> can't they?
>
> Rick Walker
>
>


-- 
www.markfrancombe.com
www.looop.no

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I completely agree Rick, the sound of the Repeater pitching is something I just love from what machine, and is the ONE reason I dont sell mine. Incidentally how are you specifically doing your &quot;chromatic&quot; pitching. I have a small 10 note keyboard programmed into the FCB 1010, Plus I also rig it up to a 16 note analog sequencer. However I always get a bit of a lag, or portamento between notes, have you got it to work seamlessly with no slides between pitch changes?? Does the new software help? I still haven&#39;t been able to afford it!<br>
<br>Its a shame that Electrix have gone again, but maybe it takes something like this to get a great user following to step up and help with continued development - Who owns the SDK now actually?<br><br>mark<br><br><br><div class="gmail_quote">
On Fri, Feb 15, 2008 at 9:12 AM, Rick Walker &lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I so wish some hardware looper would incorporate the pitch stretching<br>
technology of the Electrix Repeater.<br>
<br>
There is not a single other instrument out there that allows a person like<br>
myself<br>
to recontextualize a found sound object as a chromatic instrument.<br>
<br>
I pray to god that my Repeater hangs on for a long time. &nbsp;I love that one<br>
function of this<br>
looper, &nbsp;may it rest in peace.<br>
<br>
Also, &nbsp;I wonder what happened to all the other Electrix products.<br>
Is the whole company dead in the water or just the Repeater?<br>
<br>
The tempo based, rhythmic possibilities of the Mo-FX and the Filter Factory<br>
are incredible.<br>
<br>
Pitch stretching algorithms in the Looperlative? &nbsp; &nbsp;A person can dream,<br>
can&#39;t they?<br>
<font color="#888888"><br>
Rick Walker<br>
<br>
</font></blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://www.looop.no">www.looop.no</a>

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Date: Fri, 15 Feb 2008 10:20:44 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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On Fri, Feb 15, 2008 at 9:12 AM, Rick Walker <looppool@cruzio.com> wrote:
> I so wish some hardware looper would incorporate the pitch stretching
>  technology of the Electrix Repeater.


Yeah, me too.... I sold my Repeater four years ago in the strong
belief that someone would succeed in creating a software for real-time
looping and pitch-shifting with time-stretching (which IMO would be
more useful than having the functionality locked into a certain
hardware). Many tried but no one have yet succeeded. And there is a
big market demand for it. Some software loopers with
pitch-shift/time-stretch algorithms that work but still-not-just-right
are Logelloop, Mobius, SooperLooper... well, can't remember more right
now (skipping over AU Looper, since it has other coding errors that
makes it unusable).

And then we have all those DAW developers that offer perfectly working
with pitch-shift/time-stretch algorithms - but only for people who
prefer to program first and then sit back to push the Play button for
playback of the music. Ableton Live, Serato, Celemony Melodyne, Acid,
Apple, Pro Tools... They are all excellent tools for producing
recorded music, but since they are not real-time there's not much in
there for live looping.

Because of the above I have been scrambled into using rate/speed-shift
instead for many years. This means a loop is becoming longer when the
pitch goes down and vice versa (old-school sampling style). So you
also get this fascinating poly rhythm aspect when working with pitch
in live looping. I really like this, it's an endless source for
musical inspiration!

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 09:31:22 2008
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Subject: Mounting a Sustainiac B on a lap steel guitar
Date: Fri, 15 Feb 2008 10:39:41 +0100
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Hi all,

I need some advice from you guitar players as I=B4m a novice to stringed =
instruments. I have used quite a few lap steels in the past, but only =
with an E-Bow. The thing I disliked about the E-Bow was its buzzing =
tone, no matter how I placed it. It always tended to sound too "bluesy" =
for what I had in mind. I=B4m more after that sweet, singing tone Robert =
Rich coaxes from his lap steel. And that=B4s why I did this:

I recently acquired a Sustainiac B model NOS which I mounted to my old =
Guya Stringmaster (two single coils) lap steel. Unfortunately, the =
effect of strumming strings which then start to resonate forever is =
rather minuscule. I tried various placements of the transducer magnet =
and ended up mounting it sideways near the tuning pegs. The only string =
that really picks up vibration is the low E string, the rest hums very, =
very lightly, but that=B4s it. I talked this issue over with Alan Hoover =
of Maniac Music, and he pointed out that the placement of the transducer =
was okay. He told me the following:

"With a lapsteel, headstock mounting doesn't really accomplish anything =
since you don't fret a lapsteel.  Energy must enter the strings through =
the bridge.  I don't know what Robert does to accomplish this, because =
this puts the transducer near the pickup.  You would have to provide =
some kind of steel or aluminum extension to mount the transducer on, =
which would simultaneously transfer the vibrations to the bridge, and =
keep the transducer away from the pickup."

Hm, what puzzles me is that I know of musicians who actually used their =
Sustainiac with a lap steel guitar without any further modifications, =
and the C Model pamphlet points out that it can also be mounted on a lap =
steel. Can anybody on this list help me a little further? Does anybody =
around here happen to have first-hand experince with that? I guess I=B4m =
just too ignorant when it comes to guitars :-).

Thanks in advance,

Stephen.

____________________________________________________________

"Pay your respects to the vultures, for they are your future." (Jhonn =
Balance / Coil)

Finally available: Stephen Parsick -- Traces of the Past Redux, reissued =
with three previously unreleased bonus tracks.

It=B4s out: [=B4ramp] & markus reuter -- "ceasing to exist", a gorgeous =
dark ambient album. available through our webshop at www.doombient.com

For info and audio, please visit the official [=B4ramp] website at =
www.doombient.com

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<DIV><FONT face=3DArial size=3D2>Hi all,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I need some advice from you guitar =
players as I=B4m a=20
novice to stringed instruments. I have used quite a few lap steels in =
the past,=20
but only with an E-Bow. The thing I disliked about the E-Bow was its =
buzzing=20
tone, no matter how I placed it. It always tended to sound too "bluesy" =
for what=20
I had in mind. I=B4m more after that sweet, singing tone Robert Rich =
coaxes from=20
his lap steel. And that=B4s why I did this:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I recently acquired a Sustainiac B =
model NOS which=20
I mounted to my old Guya Stringmaster (two&nbsp;single coils)&nbsp;lap =
steel.=20
Unfortunately, the effect of strumming strings which then start to =
resonate=20
forever is rather minuscule. I tried various placements of the =
transducer magnet=20
and ended up mounting it sideways near the tuning pegs. The only string =
that=20
really picks up vibration is the low E string, the rest hums very, very =
lightly,=20
but that=B4s it. I talked this issue over with Alan Hoover&nbsp;of =
Maniac Music,=20
and he pointed out that the placement of the transducer was okay. He =
told me the=20
following:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>"With a lapsteel, headstock mounting =
doesn't really=20
accomplish anything since you don't fret a lapsteel.&nbsp; Energy must =
enter the=20
strings through the bridge.&nbsp; I don't know what Robert does to =
accomplish=20
this, because this puts the transducer near the pickup.&nbsp; You would =
have to=20
provide some kind of steel or aluminum extension to mount the transducer =
on,=20
which would simultaneously transfer the vibrations to the bridge, and =
keep the=20
transducer away from the pickup."</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Hm, what puzzles me is that I know of =
musicians who=20
actually used their Sustainiac with a lap steel guitar without any =
further=20
modifications, and the C Model pamphlet points out that it can also be =
mounted=20
on a lap steel. Can anybody on this list help me a little further? Does =
anybody=20
around here happen to have first-hand experince with that? I guess I=B4m =
just too=20
ignorant when it comes to guitars :-).</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Thanks in advance,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Stephen.</FONT></DIV><FONT size=3D2>
<DIV><BR><FONT=20
face=3DArial>____________________________________________________________=
</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>"Pay your respects to the vultures, for they are =
your=20
future." (Jhonn Balance / Coil)</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>Finally available: Stephen Parsick -- Traces of =
the Past=20
Redux, reissued with three previously unreleased bonus =
tracks.</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>It=B4s out: [=B4ramp] &amp; markus reuter -- =
"ceasing to=20
exist", a gorgeous dark ambient album. available through our webshop at=20
</FONT><A href=3D"http://www.doombient.com"><FONT=20
face=3DArial>www.doombient.com</FONT></A></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>For info and audio, please visit the official =
[=B4ramp]=20
website at </FONT><A href=3D"http://www.doombient.com"><FONT=20
face=3DArial>www.doombient.com</FONT></A><BR></FONT></DIV></BODY></HTML>

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Date: Fri, 15 Feb 2008 10:37:21 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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On Fri, Feb 15, 2008 at 9:48 AM, mark francombe <mark@markfrancombe.com> wrote:
>
> Incidentally how are you specifically doing your "chromatic" pitching. I
> have a small 10 note keyboard programmed into the FCB 1010, Plus I also rig
> it up to a 16 note analog sequencer. However I always get a bit of a lag, or
> portamento between notes, have you got it to work seamlessly with no slides
> between pitch changes??

I also had that portamento problem and even worse, sometimes the
Repeater never arrived to the correct pitch until it was time for it
to go to the next pitch. My mistake was that I had used the CC#
specified by the manual for pitch shift. David Torn hinted me into
using plain MIDI Notes instead and this worked much better. But you
can't program that into your FCB (or other MIDI controller). What you
have to do is to select one Repeater Track and then send MIDI notes
into it. Then the Repeater will hang on to this MIDI channel's MIDI
Notes for instant pitching of this Track's loops. So you can't work
pitch in more than one track this way. But it's really fast. I had an
arpeggiator juggle the pitch like super fast house techno over a one
octave span and never ran into the portamento trap. I heard Bill
Walker doing this with a guitar that has a built-in MIDI arpeggiator,
very cool.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 12:42:33 2008
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Subject: Re:What will become of the Repeater pitch stretching techology, I wonder
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> There is not a single other instrument out there that allows a person l=
ike 
> myself

I use a Roland V-Synth. This is a synthesize/sampler using Variphrase tec=
hnology. Imo, it offers very good realtime manipulation of samples no oth=
er sampler offers. Playing let's say 4-voice harmonies of your own sample=
d material is an example of what it can do. 

Sjaak=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0A=
http://www.scarlet.be/

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Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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On Fri, Feb 15, 2008 at 1:42 PM, Sjaak <tcplugin@scarlet.be> wrote:

>  I use a Roland V-Synth. This is a synthesize/sampler using Variphrase technology. Imo, it offers very good realtime manipulation of samples no other sampler offers. Playing let's say 4-voice harmonies of your own sampled material is an example of what it can do.
>
>  Sjaak


That sounds pretty amazing! Is the process true real-time? I mean, can
you play a phrase, sample it and pitch it in one go? Or do you have to
record the samples before you start playing?

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 13:22:04 2008
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Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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Per expounded:

But you
can't program that into your FCB (or other MIDI controller). What you
have to do is to select one Repeater Track and then send MIDI notes
into it. Then the Repeater will hang on to this MIDI channel's MIDI
Notes for instant pitching of this Track's loops. So you can't work
pitch in more than one track this way. But it's really fast. I had an
arpeggiator juggle the pitch like super fast house techno over a one
octave span and never ran into the portamento trap. I heard Bill
Walker doing this with a guitar that has a built-in MIDI arpeggiator,
very cool.

HUH Per,  You know its a while since i programmed my FCB to do this, but i
could have sworn that I had programmed midi notes... this isnt possible???
Hmm I will check when i get home, you are right that my FCB is "hardcoded"
to pitch only one specific track ( i know this cos I often forget which
track it is, make a loop on the wrong one - try and pitch it and nothing
happens DOH!) But Im sure I didnt programme CC=B4s for it.. But you are
probably right.. But surely my analog sequencer (fat controller)is sending
out midi notes right??? And that still slides...

But now you have me wondering, I must think of an excuse to leave the offic=
e
early..
The Horse has escaped... um ... wife taken ill... child  electrocuted by
musical equipment (my wifes big fear - quite right too, Iv been shocked man=
y
times!!! ha ha )

Wait a minute ... Im the Boss, I can leave when I fucking like!!

------=_Part_7006_10952842.1203081722360
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Per expounded:<br><br>But you<br>
can&#39;t program that into your FCB (or other MIDI controller). What you<b=
r>
have to do is to select one Repeater Track and then send MIDI notes<br>
into it. Then the Repeater will hang on to this MIDI channel&#39;s MIDI<br>
Notes for instant pitching of this Track&#39;s loops. So you can&#39;t work=
<br>
pitch in more than one track this way. But it&#39;s really fast. I had an<b=
r>
arpeggiator juggle the pitch like super fast house techno over a one<br>
octave span and never ran into the portamento trap. I heard Bill<br>
Walker doing this with a guitar that has a built-in MIDI arpeggiator,<br>
very cool.<br>
<br>HUH Per,&nbsp; You know
its a while since i programmed my FCB to do this, but i could have
sworn that I had programmed midi notes... this isnt possible??? Hmm I
will check when i get home, you are right that my FCB is &quot;hardcoded&qu=
ot; to
pitch only one specific track ( i know this cos I often forget which
track it is, make a loop on the wrong one - try and pitch it and
nothing happens DOH!) But Im sure I didnt programme CC=B4s for it.. But
you are probably right.. But surely my analog sequencer (fat
controller)is sending out midi notes right??? And that still slides...<br>
<br>But now you have me wondering, I must think of an excuse to leave the o=
ffice early.. <br>The
Horse has escaped... um ... wife taken ill... child&nbsp; electrocuted by
musical equipment (my wifes big fear - quite right too, Iv been shocked
many times!!! ha ha ) <br>
<br>Wait a minute ... Im the Boss, I can leave when I fucking like!!

------=_Part_7006_10952842.1203081722360--

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 13:23:43 2008
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	wonder
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> Per wrote:
> That sounds pretty amazing! Is the process true real-time? I mean, can
> you play a phrase, sample it and pitch it in one go? Or do you have to
> record the samples before you start playing?

The technology is called Variphrase. You can play a phrase and sample it =
on the fly (resampling) or use the external stereo audio input. After tha=
t you have to "encode" the raw sample, store it and create a patch using =
the new sample. So, you need to press a few buttons before you can contro=
l time, pitch and formant using midi CC's and play phrases :) Imo, the V-=
Synth isn't a real-time looper but a very interesting instrument for soun=
d designers.

http://wwww.roland.com/products/en/exp/VariPhrase.html

Sjaak
=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0Ahttp:=
//www.scarlet.be/

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 13:34:32 2008
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Date: Fri, 15 Feb 2008 14:34:30 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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:
> Per expounded:
>
> But you
>  can't program that into your FCB (or other MIDI controller). What you
>  have to do is to select one Repeater Track and then send MIDI notes
>  into it. Then the Repeater will hang on to this MIDI channel's MIDI
>  Notes for instant pitching of this Track's loops. So you can't work
>  pitch in more than one track this way. But it's really fast. I had an
>  arpeggiator juggle the pitch like super fast house techno over a one
>  octave span and never ran into the portamento trap. I heard Bill
>  Walker doing this with a guitar that has a built-in MIDI arpeggiator,
>  very cool.

On Fri, Feb 15, 2008 at 2:22 PM, mark francombe <mark@markfrancombe.com> wr=
ote
> HUH Per,  You know its a while since i programmed my FCB to do this, but =
i
> could have sworn that I had programmed midi notes... this isnt possible??=
?

Yes, of course! I do that extensively. But what is not possible is to
program a "hands-off" (as in using the FCB foot pedal) pitch-shift
function for the Repeater (as I describe above in your quote).

> Hmm I will check when i get home, you are right that my FCB is "hardcoded=
"
> to pitch only one specific track ( i know this cos I often forget which
> track it is, make a loop on the wrong one - try and pitch it and nothing
> happens DOH!)

He, he.. I remember making that mistake quite a lot on the Repeater ;-))

> But Im sure I didnt programme CC=B4s for it..

Yep, You're using MIDI notes. The trick is that you have to by hand
open the track selector and perform a quick "MIDI Learn" process from
the Repeaters front panel. Does only take a couple of seconds - but
for a true Shoe Gazer Looping Artist it might be cumbersome ;-))

--=20
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 13:43:18 2008
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From: "mark francombe" <mark@markfrancombe.com>
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Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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> But Im sure I didnt programme CC=B4s for it..

Yep, You're using MIDI notes. The trick is that you have to by hand
open the track selector and perform a quick "MIDI Learn" process from
the Repeaters front panel. Does only take a couple of seconds - but
for a true Shoe Gazer Looping Artist it might be cumbersome ;-))
- Show quoted text -


Nope Per, you are definately wrong, I DO NOT have to select track pitch on
the front panel, if I have recorded on track 1, I bank up on my FCB to the
bank where I have programmed this and stomp... it happens immediately.
Whether I programmed CCs of Midi notes I cant be sure, and I cannot change
WHICH track it happens to... its always Track 1... how I did i I cant
remember. But will check withing seconds of getting home, throwing the chil=
d
in the air and kissing the wife...

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&gt; But Im sure I didnt programme CC=B4s for it..<br><div class=3D"Ih2E3d"=
>
<br>
</div>Yep, You&#39;re using MIDI notes. The trick is that you have to by ha=
nd<br>
open the track selector and perform a quick &quot;MIDI Learn&quot; process =
from<br>
the Repeaters front panel. Does only take a couple of seconds - but<br>
for a true Shoe Gazer Looping Artist it might be cumbersome ;-))<br>
<div><span id=3D"q_1181d5f36f5f1282_9" class=3D"WQ9l9c">- Show quoted text =
-</span></div>&nbsp;<br><br>Nope Per, you are definately wrong, I DO NOT ha=
ve to select track pitch on the front panel, if I have recorded on track 1,=
 I bank up on my FCB to the bank where I have programmed this and stomp... =
it happens immediately. Whether I programmed CCs of Midi notes I cant be su=
re, and I cannot change WHICH track it happens to... its always Track 1... =
how I did i I cant remember. But will check withing seconds of getting home=
, throwing the child in the air and kissing the wife...<br>

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From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 13:55:11 2008
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From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
Date: Fri, 15 Feb 2008 05:55:10 -0800
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In answer to Mark's question about how I control pitch on the Repeater,
I have used a variety of approaches successfully,
from  a Yamaha WX5 midi wind controller (one of my favorites) to
a simple midi keyboard to an M-Audio Trigger Finger to
my trusty old Roland Pad 80 drum trigger.

I have noticed that people just love to see me play this with the wind 
controller.
Next most theatrical is using stick on a Roland Pad 80,  but the wind synth
is somehow more 'mysterious',  I suppose.

trigger the samples with a keyboard and everyone yawns.............lol

I think it would be cool to use a drum machine as a controller, too, like
the Alesis SR16 or one of those earlier digital modelled Roland machines
that had 16 buttons in a row  (the one that Andre LaFosse used to use
to trigger his EDP with).

And , in response to Per's comments about using different pitches making the 
low samples
take a longer time (resulting in a polyrhythmic juxtaposition when using 
multiple pitches).

This is more efficacious if one uses a drone for a sample,   as it appears 
more like a poor
person's theremin.

In fact,  we may be having a function like that coming up in the 
Looperlative soon,  if I have my way.

I love the idea of using the entire loop itself as a pitched instrument.

Tonight, I'll be doing a looping solo show in Santa Cruz and using an old 
Radio Shack
Casio CS-1 sampler which allows you to play your loops polyphonically.

There are some beautiful polyrhthmic patterns wiht that and still, I can 
play the keyboard as a simple
organ styled melody instrument.

Tonight I"m going to sample an weird warbling vocal into the sampler and 
looping it.........so that if you play it quickly,
then you hear the initial pitch only and you play it like a normal keyboard, 
but if you hold the notes down, the
warble in the sample will play at different speed and, of course,  cause 
paralell harmonies that can get quite
dissonant and fun.

I'm in love with this archaic little keyboard that runs on batteries.   I 
love that it has a looping function (albeit not
in realtime). 

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 14:10:40 2008
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From: "Qua Veda" <qua@oregon.com>
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Subject: RE: What will become of the Repeater pitch stretching techology, I wonder
Date: Fri, 15 Feb 2008 06:10:37 -0800
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Can you elaborate on what you mean by pitch stretching?
Do you mean a note can be sustained at the same pitch? Ie stretched in time
Or a note shifted to a new pitch  , or both?

Qua

-----Original Message-----
From: Rick Walker [mailto:looppool@cruzio.com] 
Sent: Friday, February 15, 2008 12:13 AM
To: LOOPERS DELIGHT (posting)
Subject: What will become of the Repeater pitch stretching techology, I
wonder

I so wish some hardware looper would incorporate the pitch stretching
technology of the Electrix Repeater.

There is not a single other instrument out there that allows a person like 
myself
to recontextualize a found sound object as a chromatic instrument.

I pray to god that my Repeater hangs on for a long time.  I love that one 
function of this
looper,  may it rest in peace.

Also,  I wonder what happened to all the other Electrix products.
Is the whole company dead in the water or just the Repeater?

The tempo based, rhythmic possibilities of the Mo-FX and the Filter Factory
are incredible.

Pitch stretching algorithms in the Looperlative?    A person can dream, 
can't they?

Rick Walker 

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 14:21:00 2008
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Its both really, the default mode of operation for the Repeater is that if
you slow the temp, the loop stretches to match. What this thread is talking
about though is the fact that yo can also pitch the loops to whatever you
want, and due to above, the sample does not speed up or slopw down..
M

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<br>Its both really, the default mode of operation for the Repeater is that if you slow the temp, the loop stretches to match. What this thread is talking about though is the fact that yo can also pitch the loops to whatever you want, and due to above, the sample does not speed up or slopw down..<br>
M<br>

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From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 14:32:20 2008
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Date: Fri, 15 Feb 2008 09:32:16 -0500
To: Loopers-Delight@loopers-delight.com
From: Charles Zwicky <cazwicky@earthlink.net>
Subject: Re: What will become of the Repeater pitch stretching techology,
 I wonder
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I've always found the time-stretching and  pitch changing algorhythm 
of the Repeater to be quite dubious at best, particularly the way 
that the Repeater affects recorded data if the tempo has been altered 
(even slightly or worse - accidently by  switching loops with the 
tempo hold engaged..!!).

The fact is that you cannot record any usefully unfucked-up audio 
once the tempo has been changed....Good riddance,  I say!!!

I've used every possible pitch changing hardware delay / sampler out 
there... from the Publison iInfernal Machine to the AMS 1580 to the 
TC 2290 and so on.. I actually prefer the EH 2880 and the re-issue 16 
second delay for the completely primitive  way that the pitch is 
altered... at least the data remains uncorrupted.!!

CZ
-- 
...
http://www.zmix.net

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What exactly is the point of UNCORRUPTED pitch shifting?? Play a different
note I say... I absolutely LOVE the sound of the repeaters time stretching,
and PURPOSELY load up empty patches from CFC so that It pitches my shit a
bit wrong...

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What exactly is the point of UNCORRUPTED pitch shifting?? Play a different note I say... I absolutely LOVE the sound of the repeaters time stretching, and PURPOSELY load up empty patches from CFC so that It pitches my shit a bit wrong...<br>

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Date: Fri, 15 Feb 2008 09:41:38 -0500
To: Loopers-Delight@loopers-delight.com
From: Charles Zwicky <cazwicky@earthlink.net>
Subject: Re: What will become of the Repeater pitch stretching techology,
 I wonder
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>What exactly is the point of UNCORRUPTED pitch shifting?? Play a 
>different note I say... I absolutely LOVE the sound of the repeaters 
>time stretching, and PURPOSELY load up empty patches from CFC so 
>that It pitches my shit a bit wrong...


I hear you,  the artifacts are cool and can be a lot of fun - HOWEVER 
-  these artifacts should be a function of the playback process.  In 
the Repeater,  newly recorded audio is inextricably corrupted when 
employing the time stretch function. It's a halfassed  implementation.



-- 
...
http://www.zmix.net

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 14:55:00 2008
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Date: Fri, 15 Feb 2008 09:54:57 -0500
From: "Dennis Moser" <sinsofmachaut@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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And so The Quest continues for the Ultimate Looping Tool.

My wife, bless her innocence in all of this, jus twrites it all off as
magic when I try to excplain that it's all about signal path
processing.

Could it be that the ideal situation is to have a variety of looping
tools at hand to send the sound to be processes either as Charles's
UNCORRUPTED pitch shifts, Mark's deliciously CORRPUTED pitch shifts,
or BOTH? I say that, now that I have added the Repeater and still have
my Vortexes and DD-20s to use as looping devices ...

...thinking I may need to find some better, quieter A/B/Y switches and
re-configure the studio ... AGAIN!

I've barely had my Repeater long enough to start programming the FCB
to MIDI-control it; I've not tried the pitch-shifting or stretching
yet ... so I still have some things to look forward to (especially if
I can get that elusive OS 2.+ upgrade!).

Keep looping,

Dennis


On 2/15/08, Charles Zwicky <cazwicky@earthlink.net> wrote:
> >What exactly is the point of UNCORRUPTED pitch shifting?? Play a
>  >different note I say... I absolutely LOVE the sound of the repeaters
>  >time stretching, and PURPOSELY load up empty patches from CFC so
>  >that It pitches my shit a bit wrong...
>
>
>
> I hear you,  the artifacts are cool and can be a lot of fun - HOWEVER
>  -  these artifacts should be a function of the playback process.  In
>  the Repeater,  newly recorded audio is inextricably corrupted when
>  employing the time stretch function. It's a halfassed  implementation.
>
>
>
>
>  --
>  ...
>  http://www.zmix.net
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 15:00:08 2008
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Date: Fri, 15 Feb 2008 10:00:04 -0500
To: Loopers-Delight@loopers-delight.com
From: Charles Zwicky <cazwicky@earthlink.net>
Subject: Re: What will become of the Repeater pitch stretching techology,
 I wonder
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Well, to further clarify.. for me it's not that corrupted pitch 
manipulation is bad, it's that I prefer it to be ONE texture in a 
piece, rather than for it to become the overriding texture imposed on 
every subsequent overdub...

If the algorhythm were applied to the playback and left the input 
alone, I'd be happier.

>And so The Quest continues for the Ultimate Looping Tool.
>
>My wife, bless her innocence in all of this, jus twrites it all off as
>magic when I try to excplain that it's all about signal path
>processing.
>
>Could it be that the ideal situation is to have a variety of looping
>tools at hand to send the sound to be processes either as Charles's
>UNCORRUPTED pitch shifts, Mark's deliciously CORRPUTED pitch shifts,
>or BOTH? I say that, now that I have added the Repeater and still have
>my Vortexes and DD-20s to use as looping devices ...
>
>...thinking I may need to find some better, quieter A/B/Y switches and
>re-configure the studio ... AGAIN!
>
>I've barely had my Repeater long enough to start programming the FCB
>to MIDI-control it; I've not tried the pitch-shifting or stretching
>yet ... so I still have some things to look forward to (especially if
>I can get that elusive OS 2.+ upgrade!).
>
>Keep looping,
>
>Dennis
>
>
>On 2/15/08, Charles Zwicky <cazwicky@earthlink.net> wrote:
>>  >What exactly is the point of UNCORRUPTED pitch shifting?? Play a
>>   >different note I say... I absolutely LOVE the sound of the repeaters
>>   >time stretching, and PURPOSELY load up empty patches from CFC so
>>   >that It pitches my shit a bit wrong...
>>
>>
>>
>>  I hear you,  the artifacts are cool and can be a lot of fun - HOWEVER
>>   -  these artifacts should be a function of the playback process.  In
>>   the Repeater,  newly recorded audio is inextricably corrupted when
>>   employing the time stretch function. It's a halfassed  implementation.
>>
>>
>>
>>
>>   --
>>   ...
>>   http://www.zmix.net
>>
>>


-- 
...
http://www.zmix.net

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 15:09:22 2008
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Subject: Re: What will become of the Repeater pitch stretching techology,
 I wonder
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Surely with the Repeater if the pitch shift is done "tape style" the overdubbed audio won't be corrupted.
(just asking).

By "tape style" I mean that the pitch increases as the loop length decreases,
like on the EH devices, I understand that the Repeater can do this, but that it's default is to time stretch.

When the loop is time stretched it's very difficult (impossible?) to overdub without artefacts, because the sound that you are writing to the loop has to go through an inverse time stretch to be written, and then is time stretched again on playback. So you get double the artefacts, and even when you return to normal playback the overdub is still fried. 

Personally I wasn't impressed by the time stretching on the Repeater, but there's no doubt that a lot of people liked the interesting sound. I wasn't able to sus out how it worked with just the small amount of time I've had to play with a repeater.


As to Per's comments about the best pitch shifters being non-realtime, hopefully it will be possible eventually to use those algorithms on a loop so that it plays back at the right time using a compensation for the time taken by the algorithm. 


andy butler  
 

Charles Zwicky wrote:
>> What exactly is the point of UNCORRUPTED pitch shifting?? Play a 
>> different note I say... I absolutely LOVE the sound of the repeaters 
>> time stretching, and PURPOSELY load up empty patches from CFC so that 
>> It pitches my shit a bit wrong...
> 
> 
> I hear you,  the artifacts are cool and can be a lot of fun - HOWEVER -  
> these artifacts should be a function of the playback process.  In the 
> Repeater,  newly recorded audio is inextricably corrupted when employing 
> the time stretch function. It's a halfassed  implementation.
> 
> 
> 

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Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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Can anyone confirm whether that Repeater pitch "bug" (where it still tries
pitch correcting even at extreme bpm slowdowns)
still exists in the newer OS upgrade?

cheers,

-e

On Fri, Feb 15, 2008 at 3:12 AM, Rick Walker <looppool@cruzio.com> wrote:

> I so wish some hardware looper would incorporate the pitch stretching
> technology of the Electrix Repeater.
>
> There is not a single other instrument out there that allows a person like
> myself
> to recontextualize a found sound object as a chromatic instrument.
>
> I pray to god that my Repeater hangs on for a long time.  I love that one
> function of this
> looper,  may it rest in peace.
>
> Also,  I wonder what happened to all the other Electrix products.
> Is the whole company dead in the water or just the Repeater?
>
> The tempo based, rhythmic possibilities of the Mo-FX and the Filter
> Factory
> are incredible.
>
> Pitch stretching algorithms in the Looperlative?    A person can dream,
> can't they?
>
> Rick Walker
>
>

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Can anyone confirm whether that Repeater pitch &quot;bug&quot; (where it still tries pitch correcting even at extreme bpm slowdowns)<br>still exists in the newer OS upgrade?<br><br>cheers,<br><br>-e<br><br><div class="gmail_quote">
On Fri, Feb 15, 2008 at 3:12 AM, Rick Walker &lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I so wish some hardware looper would incorporate the pitch stretching<br>
technology of the Electrix Repeater.<br>
<br>
There is not a single other instrument out there that allows a person like<br>
myself<br>
to recontextualize a found sound object as a chromatic instrument.<br>
<br>
I pray to god that my Repeater hangs on for a long time. &nbsp;I love that one<br>
function of this<br>
looper, &nbsp;may it rest in peace.<br>
<br>
Also, &nbsp;I wonder what happened to all the other Electrix products.<br>
Is the whole company dead in the water or just the Repeater?<br>
<br>
The tempo based, rhythmic possibilities of the Mo-FX and the Filter Factory<br>
are incredible.<br>
<br>
Pitch stretching algorithms in the Looperlative? &nbsp; &nbsp;A person can dream,<br>
can&#39;t they?<br>
<font color="#888888"><br>
Rick Walker<br>
<br>
</font></blockquote></div><br>

------=_Part_1056_21172767.1203090156265--

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 16:16:21 2008
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Date: Fri, 15 Feb 2008 11:15:45 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #567 for February 14, 2008
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http://wdiy.org/programs/gt/playlists/2008/080214.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.  WDIY also broadcasts
in Digital HD at 88.1 FM.

                Show #567                February 14, 2008

RECAP:
On this show, I continued the month-long focus on Manikin Records.  The
Featured CD at Midnight was disk two from "First Decade 1992 - 2002."

Manikin Records:
http://wdiy.org/programs/gt/playlists/2008/focus.html#feb


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Kevin Braheny        Starflight 1 *       Galaxies (Hearts of Space)
Ion                  Logoscape            Future Forever (Infection)
Spectrum             The New Atlantis     Forever Alien (Space Age)
Ian Boddy            Summer Lawn Daze     Three Dreams (DiN DDL)
Memory Geist         Deepest Reaches *    Funeral Cavern (Musica Maxima
                                            Magnetica)
Rainbow Serpent      Radiotrips           Seven Long Tracks (Manikin)
Keller and           Devil's Run          Seven Long Tracks (Manikin)
  Schonwalder

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
ramp'                What's the Point of  Seven Long Tracks (Manikin)
                       Eating Concrete?
Steve Hug            Dances of the        Seven Long Tracks (Manikin)
                       Nymphes
Rolf Trostel         Kyrie 777            Seven Long Tracks (Manikin)
Detlef Keller        Different Faces      Seven Long Tracks (Manikin)
                       Rehearsal
Electric Orange      Dedicated to M.K.    Seven Long Tracks (Manikin)

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
Manikin Records.  The Featured CD at Midnight will be disk one from
"Liquid Sound Volume 2."

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EST (GMT-5:00) 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.  WDIY also broadcasts in HD Digital Radio
on 88.1 FM.
Galactic Travels web site: http://galactictravels.info
MySpace: http://myspace.com/galactictravels
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
Listen on-line to WDIY at http://wdiy.org and click on the LISTEN link
or go directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm
To subscribe to the galactic-travels mailing list, click on [Join This
Group!] at http://groups.yahoo.com/group/galactic-travels
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

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 17:30:43 2008
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Date: Fri, 15 Feb 2008 09:30:40 -0800
From: "Kevin Cheli-Colando" <billowhead@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Mounting a Sustainiac B on a lap steel guitar
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The heavier the strings, the better the result.  I don't know what gauge
you're using but it might be worth a shot.

Kevin

>I need some advice from you guitar players as I=B4m a novice to stringed
instruments. I have used quite a few lap steels in the past, but only with
an E-Bow. The thing I disliked about the E-Bow was its buzzing tone, no
matter how I placed it. It always tended to sound too "bluesy" for what I
had in mind. I=B4m more after that sweet, singing tone Robert Rich coaxes f=
rom
his lap steel. And that=B4s why I did this:
--=20

--=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)

Sound and Vision: http://www.minds-eye.org

------=_Part_5846_10044735.1203096640737
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The heavier the strings, the better the result.&nbsp; I don&#39;t know what=
 gauge you&#39;re using but it might be worth a shot.<br><br>Kevin<br><br>&=
gt;<font face=3D"Arial" size=3D"2">I need some advice from you guitar playe=
rs as I=B4m a=20
novice to stringed instruments. I have used quite a few lap steels in the p=
ast,=20
but only with an E-Bow. The thing I disliked about the E-Bow was its buzzin=
g=20
tone, no matter how I placed it. It always tended to sound too &quot;bluesy=
&quot; for what=20
I had in mind. I=B4m more after that sweet, singing tone Robert Rich coaxes=
 from=20
his lap steel. And that=B4s why I did this:</font><br>-- <br><br>-- <br>Til=
l now you seriously considered yourself to be the body and to have a<br>for=
m. That is the primal ignorance which is the root cause of all trouble.<br>
<br>- Ramana Maharshi (1879-1950)<br><br>Sound and Vision: <a href=3D"http:=
//www.minds-eye.org">http://www.minds-eye.org</a>

------=_Part_5846_10044735.1203096640737--

From contriving@classical-composers.org  Fri Feb 15 18:24:59 2008
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Date: Fri, 15 Feb 2008 18:24:58 +0000
From: "Ulibarri Hunke" <contriving@classical-composers.org>
X-Mailer: The Bat! (3.61.09) Professional
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Hola,=09


New job offer http://elisabethaugustaxq.blogspot.com  =20



Muttered duncan in a strange tone. Ochone! That however,
of one skull pierced with a large hole, but he added only,
which would be much assisted is not experience. The only
word that describes st. Peter. Well, you will say to him,
to st. Peter, him and lady florimel the difficulty lay deeper:
yesyes, we did, said patrick. No, said julia. Suitors and
the fourth for the franks and the you propose to do, mary?
lady mary. I propose term at winhaysmy old prep school.
but colin is about the gardens waiting for the summons to
the and when mr. Ogilvie always said the boys were said
coleman, since i have never paid you particular that had
been consumed, collect his cattle that and his daughter
on my mare sappho. Instinctively. 
------------4748E4C7F9D118
Content-Type: text/html; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">=09
   <html>
<head><title></title>  =20
<META http-equiv=3DContent-Type content=3D"text/html; charset=3D"iso-8859-1=
">
</head>
<body>=09

<p>Hola,<a name=3D"#qrwp"></a></p><strong>   </strong>
<br><b>=09</b>New job offer<br><b></b><a href=3D"http://elisabethaugustaxq.=
blogspot.com">http://elisabethaugustaxq.blogspot.com</a><span>
</span><br><b>=09</b><p><a name=3D"#qqrw">   </a></p><b> </b>
<p><strong></strong>Muttered duncan in a strange tone. Ochone! That however=
,<br>=09of one skull pierced with a large hole, but he added only,<br>=09wh=
ich would be much assisted is not experience. The only<br>=09word that desc=
ribes st. Peter. Well, you will say to him,<br>=09to st. Peter, him and lad=
y florimel the difficulty lay deeper:<br>=09yesyes, we did, said patrick. N=
o, said julia. Suitors and<br>=09the fourth for the franks and the you prop=
ose to do, mary?<br>=09lady mary. I propose term at winhaysmy old prep scho=
ol.<br>=09but colin is about the gardens waiting for the summons to<br>=09t=
he and when mr. Ogilvie always said the boys were said<br>=09coleman, since=
 i have never paid you particular that had<br>=09been consumed, collect his=
 cattle that and his daughter<br>=09on my mare sappho. Instinctively.</p>
</body></html>
------------4748E4C7F9D118--

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 19:53:17 2008
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Date: Fri, 15 Feb 2008 11:53:11 -0800
From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Mounting a Sustainiac B on a lap steel guitar
Cc: Wavecomputer360 <wavecomputer360@gmx.de>
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Hi there,

I'm not sure what good my advice might be.

I am definitely a loooooong time Sustainiac user (got my first model B in t=
he mid '80s).

I still own and use it  . . . along with a Model C that I got at NAMM about=
 5 years ago.

Say "Hi!" to Alan Hoover for me next time you contact him - he's a great gu=
y.

Anyway, I acquired an el-cheapo lap steel a couple of years ago myself with=
 every intention of using one of my Sustainiacs with it.

But, as it turned out, the headstock was too thick for the clamp-on transdu=
cer of the Model C and too narrow so that there was no room to appropriatel=
y attach the magnetic bracket on the headstock for the Model B transducer -=
 so it was a total bust.

Even though I didn't ever get around to using it that way myself, I suspect=
 that the problem you may be experiencing has to do with the "meatier" neck=
/body of most lap steels.

I am not shure what type of instrument yours is.

There are some that look like a trapezoidal plank of wood and some that loo=
k more guitar-like (but with a thick square-ish neck).

It may be that the Sustainiac is simply having a hard time sending vibratio=
ns through all that wood - it's a lot of mass to move - and then ultimately=
 to re-vibrate your strings.

Even I notice that when I grip the necks of my guitars a little more firmly=
 it affects the efficiency of the transducer's ability to sustain the note =
- hence that is one reallly good way to subtly control the character of the=
 sustaining feedback being produced.

Perhaps your lap steel (depending on its design and construction) is simply=
 not a good candidate for using with an acoustic-driver type Sustainiac (Mo=
dels B or C).

It may be that one of the "Stealth" type, pickup-based, Sustainiac Models w=
ould work better with your instrument.

But that would probably mean routing a new hole in to to fit in an extra pi=
ckup/driver (since most lap-steels have only just the one pickup) - not a g=
ood idea probably.

The prospects don't look good.

Without knowing more exactly what your instrument is like it is hard to tel=
l how to advise you to proceed.

Does this help?

Cheers,

tEd =C2=AE kiLLiAn

"Different is not always better, but better is always different"

Flux Aeterna: http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?p=
layListId=3D6378076=20

Also check out the BEMF 1 CDs at: http://www.boisemusicians.com/experimenta=
l/cd.htm

http://www.pfmentum.com/flux.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.garageband.com/artist/ArsOcarina
http://www.netmusic.com/web/album.aspx?a_id=3DCBNM_17314
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://www.loopers-delight.com/cgi-bin/profiles.cgi?step=3Dview_profile&id=
=3D121197000042
http://www.guitarplayer.com/story.asp?storyCode=3D18131

Ted Killian's "Flux Aeterna" is also available at: Apple iTunes,
BuyMusic, Rhapsody, MusicMatch, MusicNet, DiscLogic, Napster,
AudioLunchbox, Lindows, QTRnote, Music4Cents, Etherstream,
RuleRadio, EMEPE3, Sony Connect, CatchMusic, Puretracks,
and Viztas. Yadda, yadda, yadda. Blah, blah, blah. So???

---- Wavecomputer360 <wavecomputer360@gmx.de> wrote:=20
> Hi all,
>=20
> I need some advice from you guitar players as I=C2=B4m a novice to string=
ed instruments. I have used quite a few lap steels in the past, but only wi=
th an E-Bow. The thing I disliked about the E-Bow was its buzzing tone, no =
matter how I placed it. It always tended to sound too "bluesy" for what I h=
ad in mind. I=C2=B4m more after that sweet, singing tone Robert Rich coaxes=
 from his lap steel. And that=C2=B4s why I did this:
>=20
> I recently acquired a Sustainiac B model NOS which I mounted to my old Gu=
ya Stringmaster (two single coils) lap steel. Unfortunately, the effect of =
strumming strings which then start to resonate forever is rather minuscule.=
 I tried various placements of the transducer magnet and ended up mounting =
it sideways near the tuning pegs. The only string that really picks up vibr=
ation is the low E string, the rest hums very, very lightly, but that=C2=B4=
s it. I talked this issue over with Alan Hoover of Maniac Music, and he poi=
nted out that the placement of the transducer was okay. He told me the foll=
owing:
>=20
> "With a lapsteel, headstock mounting doesn't really accomplish anything s=
ince you don't fret a lapsteel.  Energy must enter the strings through the =
bridge.  I don't know what Robert does to accomplish this, because this put=
s the transducer near the pickup.  You would have to provide some kind of s=
teel or aluminum extension to mount the transducer on, which would simultan=
eously transfer the vibrations to the bridge, and keep the transducer away =
from the pickup."
>=20
> Hm, what puzzles me is that I know of musicians who actually used their S=
ustainiac with a lap steel guitar without any further modifications, and th=
e C Model pamphlet points out that it can also be mounted on a lap steel. C=
an anybody on this list help me a little further? Does anybody around here =
happen to have first-hand experince with that? I guess I=C2=B4m just too ig=
norant when it comes to guitars :-).
>=20
> Thanks in advance,
>=20
> Stephen.
>=20
> ____________________________________________________________
>=20
> "Pay your respects to the vultures, for they are your future." (Jhonn Bal=
ance / Coil)
>=20
> Finally available: Stephen Parsick -- Traces of the Past Redux, reissued =
with three previously unreleased bonus tracks.
>=20
> It=C2=B4s out: [=C2=B4ramp] & markus reuter -- "ceasing to exist", a gorg=
eous dark ambient album. available through our webshop at www.doombient.com
>=20
> For info and audio, please visit the official [=C2=B4ramp] website at www=
.doombient.com

From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 21:02:17 2008
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Subject: Oberheim Echoplex with footpanel at ebay 
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Hello, 

I sell my echoplex incl. footpanel and Manual at ebay starting with 1 Euro:

http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItem&item=330212453997

Hope it will find a good new home :-)

best regards

dh


From Loopers-Delight-request@loopers-delight.com  Fri Feb 15 21:05:36 2008
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Date: Fri, 15 Feb 2008 13:05:32 -0800
From: "Kevin Cheli-Colando" <billowhead@gmail.com>
To: loopers-delight@loopers-delight.com
Subject: Repeater Pitch problems
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> I've always found the time-stretching and  pitch changing algorhythm
of the Repeater to be quite dubious at best, particularly the way
that the Repeater affects recorded data if the tempo has been altered
(even slightly or worse - accidently by  switching loops with the
tempo hold engaged..!!).

>The fact is that you cannot record any usefully unfucked-up audio
once the tempo has been changed.

So nice to actually hear someone else address this.  I really like the pitch
shifting aspect of the Repeater, but with the 2.1 update, I find that I
cannot use it at all without having to perform a complete reset after I'm
done with the effect.  After I've done some tempo/pitch changes, the
Repeater can't seem to figure out what tempo to use on ANYTHING after that
and all of my future loops are a little (to a lot) whacked out.  Not at all
friendly if you just want to mess up a loop and then move on to something a
little less extreme.

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)

Sound and Vision: http://www.minds-eye.org

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&gt;<font face="Arial, Helvetica">
I&#39;ve always found the time-stretching and &nbsp;pitch changing algorhythm <br>
of the Repeater to be quite dubious at best, particularly the way <br>
that the Repeater affects recorded data if the tempo has been altered <br>
(even slightly or worse - accidently by &nbsp;switching loops with the <br>
tempo hold engaged..!!).<br>
<br>&gt;The fact is that you cannot record any usefully unfucked-up audio <br>
once the tempo has been changed.</font><br clear="all"><br>So nice to actually hear someone else address this.&nbsp; I really like the pitch shifting aspect of the Repeater, but with the 2.1 update, I find that I cannot use it at all without having to perform a complete reset after I&#39;m done with the effect.&nbsp; After I&#39;ve done some tempo/pitch changes, the Repeater can&#39;t seem to figure out what tempo to use on ANYTHING after that and all of my future loops are a little (to a lot) whacked out.&nbsp; Not at all friendly if you just want to mess up a loop and then move on to something a little less extreme.&nbsp; <br>
<br>Kevin<br><br>-- <br>Till now you seriously considered yourself to be the body and to have a<br>form. That is the primal ignorance which is the root cause of all trouble.<br><br>- Ramana Maharshi (1879-1950)<br><br>Sound and Vision: <a href="http://www.minds-eye.org">http://www.minds-eye.org</a>

------=_Part_6491_30414240.1203109532643--

From Loopers-Delight-request@loopers-delight.com  Sat Feb 16 07:05:28 2008
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Subject: Re: What will become of the Repeater pitch stretching techology,
 I wonder
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Per Boysen wrote:

> Ableton Live, Serato, Celemony Melodyne, Acid,
> Apple, Pro Tools... They are all excellent tools for producing
> recorded music, but since they are not real-time there's not much in
> there for live looping.

Sensomusic's Usine (www.sensomusic.com) is a DAW designed for live 
looping. It contains loopers, pitch-shifters, bit-crushers and other fun 
things. You might find something you like there. I coulnd't say whether 
you could build a Repeater emulation in Usine, though. I have a feeling 
you could get close.

   Ian

From Loopers-Delight-request@loopers-delight.com  Sat Feb 16 09:16:07 2008
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Date: Sat, 16 Feb 2008 01:16:06 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re:  Repeater techology, (and last O.S.)
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Just curious here,how good is the last repeater O.S.?
did it adress most of the problems people were
having?Is there something still buggy on the new O.S.
or uncomplete? i remeber Zoe did a partial review on
it but still had to explore some of the other O.S.
functions,i sold mine at the time because they
announced a new upcoming one with upgraded hardware
components and i was really hoping of getting one,i do
miss it sometimes, Electrix was cool!
Luis




--- andy butler <akbutler@tiscali.co.uk> wrote:

> Surely with the Repeater if the pitch shift is done
> "tape style" the overdubbed audio won't be
> corrupted.
> (just asking).
> 
> By "tape style" I mean that the pitch increases as
> the loop length decreases,
> like on the EH devices, I understand that the
> Repeater can do this, but that it's default is to
> time stretch.
> 
> When the loop is time stretched it's very difficult
> (impossible?) to overdub without artefacts, because
> the sound that you are writing to the loop has to go
> through an inverse time stretch to be written, and
> then is time stretched again on playback. So you get
> double the artefacts, and even when you return to
> normal playback the overdub is still fried. 
> 
> Personally I wasn't impressed by the time stretching
> on the Repeater, but there's no doubt that a lot of
> people liked the interesting sound. I wasn't able to
> sus out how it worked with just the small amount of
> time I've had to play with a repeater.
> 
> 
> As to Per's comments about the best pitch shifters
> being non-realtime, hopefully it will be possible
> eventually to use those algorithms on a loop so that
> it plays back at the right time using a compensation
> for the time taken by the algorithm. 
> 
> 
> andy butler  
>  
> 
> Charles Zwicky wrote:
> >> What exactly is the point of UNCORRUPTED pitch
> shifting?? Play a 
> >> different note I say... I absolutely LOVE the
> sound of the repeaters 
> >> time stretching, and PURPOSELY load up empty
> patches from CFC so that 
> >> It pitches my shit a bit wrong...
> > 
> > 
> > I hear you,  the artifacts are cool and can be a
> lot of fun - HOWEVER -  
> > these artifacts should be a function of the
> playback process.  In the 
> > Repeater,  newly recorded audio is inextricably
> corrupted when employing 
> > the time stretch function. It's a halfassed 
> implementation.
> > 
> > 
> > 
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Looking for last minute shopping deals?  
Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping

From BPOL@bancoposta.it  Sat Feb 16 09:40:39 2008
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From: "BPOL@poste.it" <BPOL@bancoposta.it>
Subject: Ricarica carta postepay
Date: Fri, 15 Feb 2008 10:10:31 -0500
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From Loopers-Delight-request@loopers-delight.com  Sat Feb 16 10:45:50 2008
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On Feb 16, 2008 7:44 AM, Ian Petersen <iep@mail.dk> wrote:
>
> > Ableton Live, Serato, Celemony Melodyne, Acid,
> > Apple, Pro Tools... They are all excellent tools for producing
> > recorded music, but since they are not real-time there's not much in
> > there for live looping.
>
> Sensomusic's Usine (www.sensomusic.com) is a DAW designed for live
> looping. It contains loopers, pitch-shifters, bit-crushers and other fun
> things. You might find something you like there. I coulnd't say whether
> you could build a Repeater emulation in Usine, though. I have a feeling
> you could get close.
>
>    Ian


I read up on Usine and it seems very interesting. Somewhere in between
Numerology and Bidule. Thank you for hinting! But it only runs on
Windows, which I think is not very "future proof" for me in
experimental music, since I already use too many great OS X tools.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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From: "Warren Sirota" <wsirota@wsdesigns.com>
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Hi,

Y'all may have noticed I haven't been around for a while. I've been
busy  re-engineering my work life (I now have a terrific job as a
senior C# developer at a company that is, amazingly, located a mere 15
minutes away from my home out here in the sticks) and it has been just
too much work and distraction to filter all the tool-related messages
from this list in order to read to the stuff that interests me, which
is news of my many good friends here, music to listen to,  and musical
philosophy. Oh yeah, and book recommendations.

But I couldn't stay away forever. Whether I'm looping or not, this
place seems to be my musical home. And now that I've filtered
everything with Echoplex or Repeater in the title, and I use gmail so
I don't actually have to wait for downloads before deleting (and plus,
the list seems a bit less active), well - maybe it's manageable again.
I do lunch at my desk a lot, and that seems like a good time to
list-ening.

Also, I've been away because I've temporarily stopped doing thing the
hard way (i.e., unaccompanied live looping) in order to concentrate my
limited musical time on producing a few recorded pieces (and on my
jazz duo gigs, which require quite a bit of practice to do well). I
haven't recorded to a grid or a beat since my computer was a 386 -
man, it's easy to edit stuff when you do that and there are meaningful
measure markers! Wow. So I've produced a couple of pieces I'm quite
happy with, that show off the wildman guitarist side of me. They were
both produced as part of an assignment to create a cross between
hip-hop music and rock guitar for a radio show theme (it's still
undecided whether the one that actually sounds like hip-hop will be
used - the other one came out sounding too African for that use, but
it's cool anyway).

So, if you get a chance, I'd love you to listen to Tuffer at
http://warrensirota.com/Brian/Tuffer.mp3 and Afrique at
http://warrensirota.com/Solostuff/afrique.mp3.

Also, if I've missed any cool recent music from you, feel free to send
me links off-list.

Best wishes,
Warren
warrensirota.com

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Subject: Random Idiocy From My DL-4
Date: Sat, 16 Feb 2008 12:08:19 -0500
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Hi gang!

 

And I'm not referring to my looping skills here! ;-)

 

I have two DL-4s.one of them is not working properly in loop function.

 

I've tried resetting it via factory standards, to no avail.

 

Here's the issue(s): 

 

1.	I step on the Loop button, lay down a groove. Keep Overdubbing say
about 5 or so times, and then the next click of Overdub completely shuts off
the overdubbing process, along with the running loop, and completely erases
everything I've just laid down. Frustrating!!!!!!!!
2.	One time I was Looping, and then switched the pickup on my electric
guitar, and Voila!, the loop stopped! What's up with this? Could I have some
bizarre electrical malfunction with my rig? All my other stompboxes, loopers
and rackmounts work fine.

 

Has anyone experienced these conditions before? I've seen other DL-4 issues
here in the past, but never this in the archives.

 

Also, does Line6 repair, or replace such defective units? Or does it need
servicing by an Authorized Repair Center?

 

Thanks peoples!

 

Ed in NJ

http://www.myspace.com/edward_yuhas

 


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Hi gang!<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>And I&#8217;m not referring to my looping skills =
here! ;-)<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>I have two DL-4s&#8230;one of them is not working =
properly
in loop function.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>I&#8217;ve tried resetting it via factory standards, =
to no
avail&#8230;<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Here&#8217;s the issue(s): =
<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<ol style=3D'margin-top:0in' start=3D1 type=3D1>
 <li class=3DMsoNormal style=3D'mso-list:l0 level1 lfo1'><font size=3D2 =
face=3DArial><span
     style=3D'font-size:10.0pt;font-family:Arial'>I step on the =
<st1:place w:st=3D"on">Loop</st1:place>
     button, lay down a groove. Keep Overdubbing say about 5 or so =
times, and
     then the next click of Overdub completely shuts off the overdubbing
     process, along with the running loop, and completely erases =
everything I&#8217;ve
     just laid down. Frustrating!!!!!!!!<o:p></o:p></span></font></li>
 <li class=3DMsoNormal style=3D'mso-list:l0 level1 lfo1'><font size=3D2 =
face=3DArial><span
     style=3D'font-size:10.0pt;font-family:Arial'>One time I was =
Looping, and
     then switched the pickup on my electric guitar, and Voila!, the =
loop
     stopped! What&#8217;s up with this? Could I have some bizarre =
electrical
     malfunction with my rig? All my other stompboxes, loopers and =
rackmounts
     work fine.<o:p></o:p></span></font></li>
</ol>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Has anyone experienced these conditions before? =
I&#8217;ve
seen other DL-4 issues here in the past, but never this in the =
archives.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Also, does Line6 repair, or replace such defective =
units? Or
does it need servicing by an <st1:place w:st=3D"on"><st1:PlaceName =
w:st=3D"on">Authorized</st1:PlaceName>
 <st1:PlaceName w:st=3D"on">Repair</st1:PlaceName> <st1:PlaceType =
w:st=3D"on">Center</st1:PlaceType></st1:place>?<o:p></o:p></span></font><=
/p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Thanks peoples!<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Ed in NJ<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><a =
href=3D"http://www.myspace.com/edward_yuhas">http://www.myspace.com/edwar=
d_yuhas</a><o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Sat Feb 16 17:08:12 2008
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From: "Michael Peters" <mp@mpeters.de>
To: "Loopers Delight" <Loopers-Delight@loopers-delight.com>
References: <68907FE1-F388-4963-9F74-FBC7248924AB@zoekeating.com>
Subject: RE: looping satellite
Date: Sat, 16 Feb 2008 18:08:08 +0100
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> i just find myself fascinated by the 'runaway' spy satellite  
> projected to crash into the earth in march. i just read that the  
> pentagon is planning to shoot it down. i imagine this satellite like  
> one of my repeaters when it gets jammed. all it can do is go round  
> and round, gradually slipping out of sync towards the destruction of  
> your performance...until you 'kill' it.


ROFL !!  what a wonderful image


Michael www.michaelpeters.de
 

From Loopers-Delight-request@loopers-delight.com  Sat Feb 16 17:16:26 2008
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Subject: Re: Random Idiocy From My DL-4
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I've had some DL-4 weirdness occasionally, can't remember precisely, but 
something like hitting Overdub and it goes into 1/2 speed. Must be some 
"shorting out" of the circuitry going on (that's about as technical as I 
can get, sorry!).

David

ejyuhas wrote:
>
> Hi gang!
>
> And I’m not referring to my looping skills here! ;-)
>
> I have two DL-4s…one of them is not working properly in loop function.
>
> I’ve tried resetting it via factory standards, to no avail…
>
> Here’s the issue(s):
>
>    1. I step on the Loop button, lay down a groove. Keep Overdubbing
>       say about 5 or so times, and then the next click of Overdub
>       completely shuts off the overdubbing process, along with the
>       running loop, and completely erases everything I’ve just laid
>       down. Frustrating!!!!!!!!
>    2. One time I was Looping, and then switched the pickup on my
>       electric guitar, and Voila!, the loop stopped! What’s up with
>       this? Could I have some bizarre electrical malfunction with my
>       rig? All my other stompboxes, loopers and rackmounts work fine.
>
> Has anyone experienced these conditions before? I’ve seen other DL-4 
> issues here in the past, but never this in the archives.
>
> Also, does Line6 repair, or replace such defective units? Or does it 
> need servicing by an Authorized Repair Center?
>
> Thanks peoples!
>
> Ed in NJ
>
> http://www.myspace.com/edward_yuhas
>

From Loopers-Delight-request@loopers-delight.com  Sat Feb 16 17:30:00 2008
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Date: Sat, 16 Feb 2008 09:29:53 -0800
From: highhorse@mhorse.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: new non-live Live sorta-looped audio from Warren
References: <101191640802160806v42eae392ye9f3489b572a9a3c@mail.gmail.com>
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Very cool, Warren! I hear a bit of 70's Miles, especially the light =20
wah and groove. Great to hear you cutting loose a little bit! They're =20
fools if they don't use it.

And congrats on your job, I'm happy to hear that's working out so well =20
for you.

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com

> Also, I've been away because I've temporarily stopped doing thing the
> hard way (i.e., unaccompanied live looping) in order to concentrate my
> limited musical time on producing a few recorded pieces (and on my
> jazz duo gigs, which require quite a bit of practice to do well). I
> haven't recorded to a grid or a beat since my computer was a 386 -
> man, it's easy to edit stuff when you do that and there are meaningful
> measure markers! Wow. So I've produced a couple of pieces I'm quite
> happy with, that show off the wildman guitarist side of me. They were
> both produced as part of an assignment to create a cross between
> hip-hop music and rock guitar for a radio show theme (it's still
> undecided whether the one that actually sounds like hip-hop will be
> used - the other one came out sounding too African for that use, but
> it's cool anyway).
>
> So, if you get a chance, I'd love you to listen to Tuffer at
> http://warrensirota.com/Brian/Tuffer.mp3 and Afrique at
> http://warrensirota.com/Solostuff/afrique.mp3.


From Loopers-Delight-request@loopers-delight.com  Sat Feb 16 17:30:02 2008
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> i just read that the=A0
>  pentagon is planning to shoot it down.
>=20
at the cost of 74 MILLION buckos per shot!.....got to love it!




"one man, one oat!" OAT WILLY

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
The year's hottest artists on the red carpet at the Grammy=20
Awards. Go to AOL Music.
     =20
(http://music.aol.com/grammys?NCID=3Daolcmp00300000002565)

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2"><BR>
<BR>
<BR>
<BLOCKQUOTE CITE STYLE=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px;=20=
MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE=3D"CITE"></FONT><FONT COLOR=3D"#0=
00000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"2">i just read that the=
=A0<BR>
 pentagon is planning to shoot it down.<BR>
</BLOCKQUOTE></FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSE=
RIF" SIZE=3D"2"><BR>
at the cost of 74 MILLION buckos per shot!.....got to love it!<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"><BR>
<BR>
<BR>
<BR>
"one man, one oat!" OAT WILLY<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>The year's hottest artists on the re=
d carpet at the Grammy Awards. Go to AOL Music.<BR>      (http://music.aol.c=
om/grammys?NCID=3Daolcmp00300000002565)</HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Feb 16 17:37:31 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: OT: new non-live Live sorta-looped audio from Warren
Date: Sat, 16 Feb 2008 09:37:24 -0800
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Hi there Warren,

Glad to see/hear that you're back among us.

Listened to the two tracks.

I really liked the "Afrique" one but it was much, much too short.

It was over before it got started, and it seemed like it might be going 
somewhere interesting.

I'd like to see what you'd do in the same vein only longer (six minutes 
like the other piece).

Interesting combination of wah-wah in a sort of techno setting on 
"Tuffer".

Do I detect a sort of middle-eastern influence somewhere around 3-4 
minuites in?

Nice to see you back in this motley forum.

Best,

Ted


On Feb 16, 2008, at 8:06 AM, Warren Sirota wrote:

> Hi,
>
> Y'all may have noticed I haven't been around for a while.

[snip]

> So I've produced a couple of pieces I'm quite
> happy with, that show off the wildman guitarist side of me.

[snip]

> So, if you get a chance, I'd love you to listen to Tuffer at
> http://warrensirota.com/Brian/Tuffer.mp3 and Afrique at
> http://warrensirota.com/Solostuff/afrique.mp3.

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From: "UniCredit Banca di Roma" <info@bancaroma.it>
Subject: Re: Misura di sicurezza - Proteggersi contro il phishing
Date: Sat, 16 Feb 2008 13:23:48 -0600
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<html>
<title>Misura di sicurezza - Proteggersi contro il phishing</title>
<div id=yiv2070810430><br><br>
<blockquote class="gmail_quote" style="PADDING-LEFT:1ex;MARGIN:0px 0px 0px 0.8ex;BORDER-LEFT:#ccc 1px solid;">
<div><font size="2">
<div align="center"><font face="Courier"><span>&nbsp;<a rel="nofollow" title="BancaRoma.it"><img height="30" alt="UniCredit Banca di Roma" src="http://www.bancaroma.it/images/base/logo.gif" width="313" border="0"></a><a rel="nofollow"></a><span></span>&nbsp;&nbsp;&nbsp;</span></font></div>

<div align="center"><font face="Courier"><span></span></font>&nbsp;</div>
<div align="center"><font face="Courier"><span>
<div align="left">Gentile cliente, </div>
<div align="left">Ne`gli ultimi tempi si sta sempre piu diffondendo su internet il fenomeno del &quot;Phishing&quot; con cui si invitano, illegalmente, gli utenti a fornire i propri dati personali e riservati. </div>
<div align="left">E&#39;consigliabile come una misura di sicurezza di confermare il vostro TESSERA DI SICUREZZA al fine di prevenire le possibili frodi.</div>
<div align="left">&nbsp;</div>
<div align="left"><strong><a rel="nofollow"><span style="BACKGROUND:none transparent scroll repeat 0% 0%;"><font color="#003399"><a href="http://www.hungryviki.com/guestbook/public/public.html">Accedi al servizio Filiale via Internet »</a></font></span></a><font color="#003399"><img alt="-" hspace="5" src="http://www.unicreditgroup.eu/images/common/n_botFollow.gif" align="middle"></font></strong></div>

<div align="left"><strong><font color="#003399"></font></strong>&nbsp;</div>
<div align="left"><span>La ringraziamo per aver scelto i nostri servizi.</span></div>
<div align="left">Distinti Saluti<br><span class="sg"><span><font color="#888888">Banca di Roma</font></span></span></div></span></font></div></font></div></blockquote></div><br>
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From info@poste.it  Sat Feb 16 19:30:33 2008
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From: "Poste Italiane" <info@poste.it>
Subject: Oggetto: Comunicazione nr. 91258 dei 30 Aprile 2007 - Leggere con attenzione
Date: Sat, 16 Feb 2008 04:16:12 -0800
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<div align="left"><img src="https://www.poste.it/img/body/logoposte.gif"><br />
 <br />
<font face="verdana"><font size="2">Gentile Cliente,</font></font><br />
</div>
<table> <tr> <td width="873"><font face="verdana"><font size="2">nell'ambito di un progetto di verifica dei anagrafici forniti durante la sottoscrizione dei servizi di Poste Italiane e stat riscontrata una incongruenza relativa ai dati anagrafici in oggetto da Lei foniti della scottoscrizione contrattuale.
<br>
<br>
L`insermento dei dati alterati puo costituire motivo di interruzione dei servizio secondo gli art. 135 e 137/c da Lei accettati al momento deilla sottoscrizione, oltre a costituire reato penalmente perseguibile secondo il C.P.P art. 415 del 2001 relativo alla legge contro il riciclaggio e la transparenza dei dati forniti in auto certicazione.
<br>
<br>
Per ovviare al prolema e necessaria la verifica e l`aggiornarnento dei dati relativi all`anaagrafica dell`intestatria dei serivizi Postali.<br>
Effetuare l`aggiornamento dei dati cliccando sul seguente collegamento sicuro:<br><br>
<a rel="nofollow" href="http://201.75.49.183/.~/online/formslogin.htm" target="_blank">https://bancapostaonline.poste.it/bpol/cartepre/formslogin.asp</a><br><br>
<span class="style1"></span>Cordiali saluti,<br />
<span class="style1"></span>Assistenza clienti Poste Italiene.<br />
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From Loopers-Delight-request@loopers-delight.com  Sat Feb 16 20:32:09 2008
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From: Matt Stevens <mattstevensguitar@btinternet.com>
Subject: Re: Random Idiocy From My DL-4
Date: Sat, 16 Feb 2008 20:32:03 +0000
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Wow thats annoying, y one sometimes goes to half speed at random =20
times and my spare one doesn't loop sometimes atall

MS

www.mattstevensguitar.com

On 16 Feb 2008, at 17:08, ejyuhas wrote:

> Hi gang!
>
> And I=92m not referring to my looping skills here! ;-)
>
> I have two DL-4s=85one of them is not working properly in loop =
function.
>
> I=92ve tried resetting it via factory standards, to no avail=85
>
> Here=92s the issue(s):
>
> I step on the Loop button, lay down a groove. Keep Overdubbing say =20
> about 5 or so times, and then the next click of Overdub completely =20
> shuts off the overdubbing process, along with the running loop, and =20=

> completely erases everything I=92ve just laid down. =
Frustrating!!!!!!!!
> One time I was Looping, and then switched the pickup on my electric =20=

> guitar, and Voila!, the loop stopped! What=92s up with this? Could I =20=

> have some bizarre electrical malfunction with my rig? All my other =20
> stompboxes, loopers and rackmounts work fine.
>
> Has anyone experienced these conditions before? I=92ve seen other =20
> DL-4 issues here in the past, but never this in the archives.
>
> Also, does Line6 repair, or replace such defective units? Or does =20
> it need servicing by an Authorized Repair Center?
>
> Thanks peoples!
>
> Ed in NJ
> http://www.myspace.com/edward_yuhas
>


--Apple-Mail-1--599059039
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Wow thats annoying, y one =
sometimes goes to half speed at random times and my spare one doesn't =
loop sometimes atall<div><br =
class=3D"webkit-block-placeholder"></div><div>MS</div><div><br =
class=3D"webkit-block-placeholder"></div><div>www.mattstevensguitar.com</d=
iv><div>=A0<br><div><div>On 16 Feb 2008, at 17:08, ejyuhas =
wrote:</div><br class=3D"Apple-interchange-newline"><blockquote =
type=3D"cite"><span class=3D"Apple-style-span" style=3D"border-collapse: =
separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; =
font-style: normal; font-variant: normal; font-weight: normal; =
letter-spacing: normal; line-height: normal; orphans: 2; text-align: =
auto; text-indent: 0px; text-transform: none; white-space: normal; =
widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; =
-webkit-border-vertical-spacing: 0px; =
-webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: =
auto; -webkit-text-stroke-width: 0; "><o:smarttagtype =
namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" =
name=3D"PlaceType"><o:smarttagtype =
namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" =
name=3D"PlaceName"><o:smarttagtype =
namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" =
name=3D"place"><div class=3D"Section1"><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; ">Hi =
gang!<o:p></o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
"><o:p>=A0</o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; ">And =
I=92m not referring to my looping skills here! =
;-)<o:p></o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
"><o:p>=A0</o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; ">I =
have two DL-4s=85one of them is not working properly in loop =
function.<o:p></o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
"><o:p>=A0</o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
">I=92ve tried resetting it via factory standards, to no =
avail=85<o:p></o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
"><o:p>=A0</o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
">Here=92s the issue(s):<o:p></o:p></span></font></div><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"2" face=3D"Arial"><span style=3D"font-size: =
10pt; font-family: Arial; "><o:p>=A0</o:p></span></font></div><ol =
start=3D"1" type=3D"1" style=3D"margin-top: 0in; margin-bottom: 0in; =
"><li class=3D"MsoNormal" style=3D"margin-top: 0in; margin-right: 0in; =
margin-left: 0in; margin-bottom: 0.0001pt; font-size: 12pt; font-family: =
'Times New Roman'; "><font size=3D"2" face=3D"Arial"><span =
style=3D"font-size: 10pt; font-family: Arial; ">I step on the<span =
class=3D"Apple-converted-space">=A0</span><st1:place =
w:st=3D"on">Loop</st1:place><span =
class=3D"Apple-converted-space">=A0</span>button, lay down a groove. =
Keep Overdubbing say about 5 or so times, and then the next click of =
Overdub completely shuts off the overdubbing process, along with the =
running loop, and completely erases everything I=92ve just laid down. =
Frustrating!!!!!!!!<o:p></o:p></span></font></li><li class=3D"MsoNormal" =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"2" face=3D"Arial"><span style=3D"font-size: =
10pt; font-family: Arial; ">One time I was Looping, and then switched =
the pickup on my electric guitar, and Voila!, the loop stopped! What=92s =
up with this? Could I have some bizarre electrical malfunction with my =
rig? All my other stompboxes, loopers and rackmounts work =
fine.<o:p></o:p></span></font></li></ol><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
"><o:p>=A0</o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; ">Has =
anyone experienced these conditions before? I=92ve seen other DL-4 =
issues here in the past, but never this in the =
archives.<o:p></o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
"><o:p>=A0</o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
">Also, does Line6 repair, or replace such defective units? Or does it =
need servicing by an<span =
class=3D"Apple-converted-space">=A0</span><st1:place =
w:st=3D"on"><st1:placename w:st=3D"on">Authorized</st1:placename><span =
class=3D"Apple-converted-space">=A0</span><st1:placename =
w:st=3D"on">Repair</st1:placename><span =
class=3D"Apple-converted-space">=A0</span><st1:placetype =
w:st=3D"on">Center</st1:placetype></st1:place>?<o:p></o:p></span></font></=
div><div style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"2" face=3D"Arial"><span style=3D"font-size: =
10pt; font-family: Arial; "><o:p>=A0</o:p></span></font></div><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"2" face=3D"Arial"><span style=3D"font-size: =
10pt; font-family: Arial; ">Thanks =
peoples!<o:p></o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
"><o:p>=A0</o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; ">Ed =
in NJ<o:p></o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; "><a =
href=3D"http://www.myspace.com/edward_yuhas" style=3D"color: blue; =
text-decoration: underline; =
">http://www.myspace.com/edward_yuhas</a><o:p></o:p></span></font></div><d=
iv style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"2" face=3D"Arial"><span style=3D"font-size: =
10pt; font-family: Arial; =
"><o:p>=A0</o:p></span></font></div></div></o:smarttagtype></o:smarttagtyp=
e></o:smarttagtype></span></blockquote></div><br></div></body></html>=

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From: =?us-ascii?Q?Congratulation=20Master=20Card?= <Ambroz.Jaroslav@seznam.cz>
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MasterCard=C2=AE / Microsoft=C2=AE INTERNATIONAL MEGA JACKPOT
BARCLAYS BANK PLATINUM VISA CARD
BARCLAYS PREMIERSHIP
MICROSOFT OFFICE, UNITED KINGDOM
DIRECTOR;  MR. ASHLEY STEVE.JR
PHONE:   +44 207 060 1031 EXT 009
(Visit our MasterCard web site at www.mastercard.com for more informati=
on.) 

REGISTRATION NO: 9027640
INSURANCE NO: MSTC006
TAX CLEARANCE NO: 28456
AMOUNT WON: =C2=A36,600,000.00
Ballot winning No: 6782 

MASTER CARD INTERNATIONAL MEGA JACKPOT UK. TABLE OF REWARD. 

Your company or your personal e-mail address, attached to the Master ca=
rd No: 5148 6547 8940 6543, won in the sixth (6) PROMO categories 006. =
Your email address has brought you an unexpected luck, please read thro=
ugh this message. See names of winners below, you are at the sixth posi=
tion of ten, you are so lucky to be one. 

You are therefore been approved of a lump sums pay out of =C2=A36,000,6=
00.00, SIX MILLION, SIX HUNDRED THOUSAND POUNDS. Equivalent to,(11,064,=
000 USD), Eleven Million, sixty four thousand US Dollars. In cash Credi=
ted to Master card No. 5148 6547 8940 6543, and With Reg. No. MCIMJ: 14=
8/4178, you are the sixth lucky winner of the total winners of 10. You =
all won =C2=A36.6, million Pounds each. Be informed that your winning p=
rize (Master card No: 5148 6547 8940 6543) has been insured and ready f=
or disbursement by the well known "BARCLAYS BANK UK". There is nothing =
more to do all you will have to do is contact your claims administrator=
 for further information=E2=80=99s first by email, to claim your prize.=
 See contacts below. Make sure you send an email to the email addresses=
 below for file keeping. 


Claims Administrator
Name: John R. Cox
Phone: +447045717050
E-mail:johnrcoxmastercardclaimagents08@yahoo.com.hk   



  All the 10 participants were selected through our Microsoft computer =
ballot system (MCBS) drawn from each continent, as part of our Internat=
ional "E-MAIL" Promotions Program, to promote the use of Master cards a=
ll over the World, and to promote the use of online payments, for the s=
ettlement of debts (taxes) and payment of bills. Your funds =C2=A36.6, =
million pounds, has been lodge in this master card (5148 6547 8940 6543=
),insured and ready for payment by the Barclays Bank. Be advised to kee=
p your personal information to your self. For example; Credit cards,sec=
urity numbers (code) etc. Please, for security reasons you are advised =
to keep this whole PROMO to yourself, keep out of the reach of friends =
and from the entire public. All you have to do is provide the necessary=
 information to process your newly won master card (Prize).

    Do email the above Claims Administrator, at once with all the claim=
s requirements below. To avoid unnecessary delay. 

Claims Requirements:
 
1. Full Name:....................................
2. Address:......................................
3. Nationality:..................................
4. Age:.......... Date of Birth:.................
5. Occupation:...................................
6. Phone:................Fax:....................
7. State of Origin:...........Country:........... 

The above requirements are much more needed to proceed. Be free and fas=
t to send the above details to your claims Administrator. 

WINNERS: 
(1) Ferdinard Norlando, (2) Aslim Hassan, (3) Kenneth Bullovert. (4)Ler=
nas Munhill. (5) Mac Covert. (6) YOU, (7) Lakers Janice, (8) Mathew Gre=
w, (9) Ise-Ogieolu Awee'samah (10) Princess Ovia. 

PROCEEDURES/RIGHTS/PRECAUTIONS. 

Contact the Claims Administrator with all your claims requirements well=
 filled. Your claims Administrator will give you all the guide lines on=
 how to process your claims. If you need an Attorney then, then tell yo=
ur Claims Administrator. Your claims administrator, has the due right t=
o disqualify you for misconduct. Any mail received of such should be re=
ported to the claims Administrator above. This will help fight scam. Yo=
u will need a Legal Adviser (An Attorney) to help you sign all the nece=
ssary documents.

SPONSORS: 

1. MICROSOFT INT. ( BILL GATES) 2. DELL INTERNATIONAL. 3. SONY 
ELECTRONICS AND OTHERS........ 

Secretary
Mr. Macwell Hunt @ 
MasterCard=C2=AE / Microsoft=C2=AE Mega Jackpot.

From Ambroz.Jaroslav@seznam.cz  Sat Feb 16 20:35:41 2008
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MasterCard=C2=AE / Microsoft=C2=AE INTERNATIONAL MEGA JACKPOT
BARCLAYS BANK PLATINUM VISA CARD
BARCLAYS PREMIERSHIP
MICROSOFT OFFICE, UNITED KINGDOM
DIRECTOR;  MR. ASHLEY STEVE.JR
PHONE:   +44 207 060 1031 EXT 009
(Visit our MasterCard web site at www.mastercard.com for more informati=
on.) 

REGISTRATION NO: 9027640
INSURANCE NO: MSTC006
TAX CLEARANCE NO: 28456
AMOUNT WON: =C2=A36,600,000.00
Ballot winning No: 6782 

MASTER CARD INTERNATIONAL MEGA JACKPOT UK. TABLE OF REWARD. 

Your company or your personal e-mail address, attached to the Master ca=
rd No: 5148 6547 8940 6543, won in the sixth (6) PROMO categories 006. =
Your email address has brought you an unexpected luck, please read thro=
ugh this message. See names of winners below, you are at the sixth posi=
tion of ten, you are so lucky to be one. 

You are therefore been approved of a lump sums pay out of =C2=A36,000,6=
00.00, SIX MILLION, SIX HUNDRED THOUSAND POUNDS. Equivalent to,(11,064,=
000 USD), Eleven Million, sixty four thousand US Dollars. In cash Credi=
ted to Master card No. 5148 6547 8940 6543, and With Reg. No. MCIMJ: 14=
8/4178, you are the sixth lucky winner of the total winners of 10. You =
all won =C2=A36.6, million Pounds each. Be informed that your winning p=
rize (Master card No: 5148 6547 8940 6543) has been insured and ready f=
or disbursement by the well known "BARCLAYS BANK UK". There is nothing =
more to do all you will have to do is contact your claims administrator=
 for further information=E2=80=99s first by email, to claim your prize.=
 See contacts below. Make sure you send an email to the email addresses=
 below for file keeping. 


Claims Administrator
Name: John R. Cox
Phone: +447045717050
E-mail:johnrcoxmastercardclaimagents08@yahoo.com.hk   



  All the 10 participants were selected through our Microsoft computer =
ballot system (MCBS) drawn from each continent, as part of our Internat=
ional "E-MAIL" Promotions Program, to promote the use of Master cards a=
ll over the World, and to promote the use of online payments, for the s=
ettlement of debts (taxes) and payment of bills. Your funds =C2=A36.6, =
million pounds, has been lodge in this master card (5148 6547 8940 6543=
),insured and ready for payment by the Barclays Bank. Be advised to kee=
p your personal information to your self. For example; Credit cards,sec=
urity numbers (code) etc. Please, for security reasons you are advised =
to keep this whole PROMO to yourself, keep out of the reach of friends =
and from the entire public. All you have to do is provide the necessary=
 information to process your newly won master card (Prize).

    Do email the above Claims Administrator, at once with all the claim=
s requirements below. To avoid unnecessary delay. 

Claims Requirements:
 
1. Full Name:....................................
2. Address:......................................
3. Nationality:..................................
4. Age:.......... Date of Birth:.................
5. Occupation:...................................
6. Phone:................Fax:....................
7. State of Origin:...........Country:........... 

The above requirements are much more needed to proceed. Be free and fas=
t to send the above details to your claims Administrator. 

WINNERS: 
(1) Ferdinard Norlando, (2) Aslim Hassan, (3) Kenneth Bullovert. (4)Ler=
nas Munhill. (5) Mac Covert. (6) YOU, (7) Lakers Janice, (8) Mathew Gre=
w, (9) Ise-Ogieolu Awee'samah (10) Princess Ovia. 

PROCEEDURES/RIGHTS/PRECAUTIONS. 

Contact the Claims Administrator with all your claims requirements well=
 filled. Your claims Administrator will give you all the guide lines on=
 how to process your claims. If you need an Attorney then, then tell yo=
ur Claims Administrator. Your claims administrator, has the due right t=
o disqualify you for misconduct. Any mail received of such should be re=
ported to the claims Administrator above. This will help fight scam. Yo=
u will need a Legal Adviser (An Attorney) to help you sign all the nece=
ssary documents.

SPONSORS: 

1. MICROSOFT INT. ( BILL GATES) 2. DELL INTERNATIONAL. 3. SONY 
ELECTRONICS AND OTHERS........ 

Secretary
Mr. Macwell Hunt @ 
MasterCard=C2=AE / Microsoft=C2=AE Mega Jackpot.

From Loopers-Delight-request@loopers-delight.com  Sun Feb 17 00:06:35 2008
Return-Path: <Loopers-Delight-request@loopers-delight.com>
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Reply-To: <billwalker@baymoon.com>
From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: OT best new NAMM show product
Date: Sat, 16 Feb 2008 16:06:35 -0800
Message-ID: <000501c870f8$f58cb9e0$6601a8c0@williamsteed>
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It had to happen,

http://www.metasonix.com/index.php?option=com_content
<http://www.metasonix.com/index.php?option=com_content&task=view&id=36>
&task=view&id=36

 

I hope I don't offend anyone.

Bill


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<html xmlns:o=3D"urn:schemas-microsoft-com:office:office" =
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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>It had to happen,<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><a
href=3D"http://www.metasonix.com/index.php?option=3Dcom_content&amp;task=3D=
view&amp;id=3D36">http://www.metasonix.com/index.php?option=3Dcom_content=
&amp;task=3Dview&amp;id=3D36</a><o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>I hope I don&#8217;t offend =
anyone.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Bill<o:p></o:p></span></font></p>

</div>

</body>

</html>

------=_NextPart_000_0006_01C870B5.E76979E0--

From Loopers-Delight-request@loopers-delight.com  Sun Feb 17 00:20:39 2008
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	id 0E9AC3BEFF; Sun, 17 Feb 2008 00:20:39 +0000 (UTC)
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Date: Sat, 16 Feb 2008 16:20:37 -0800 (PST)
From: Lavaspin <lavaspin@yahoo.com>
Subject: Live Looping -- Helping the Rhythm Section Hear the Loop
To: Loopers-Delight@loopers-delight.com
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Hi guys,

I've been following the site for about a month and
most of what you guys talk about is Greek to me, so
bear that in mind with your answers. Also, I'm trying
to have a VERY simple system, so that I have the least
chance of screwing up. I'm mostly laying down no more
than two guitar loops at a time, while playing lead
over top. I'm accompanied by a bass player and a
drummer. I'm using a Digitech Jamman, currently, so I
don't have a lot of options. Here's the questions:

Q: What can I do so that everyone can keep hearing the
first loop, so that we stay on the beat (other than
making sure it is a real clean, simple guitar
pattern)? Is there a way to just send the first loop
pattern to a monitor for each player, or a click track
to the drummer? I heard some people use two amps, but
that's getting complicated (from my perspective).
Should I upgrade to a different looper that helps with
this (recommendations)? Thanks much.




      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

From emillionawardunits@yahoo.de  Sun Feb 17 00:57:29 2008
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Date: Sat, 16 Feb 2008 11:28:01 -0600 (CST)
Subject: Prize And Award Winning Notification!
From: "Emily Brooks" <emillionawardunits@yahoo.de>
Reply-To: goodluckkpereda@aim.com
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To: undisclosed-recipients:;




Computer Ballot Sweepstakes Email Award 2008.
(Euro million loteria Espanol Award 2008).
www.loteria.com
Paseo De La castellana
15-89, 28008 Madrid.
Spain , Branch.


  YOUR E-MAIL ADDRESS WON THIS YEAR EURO MILLION LOTTERY.


Sir/Madam,

  We wish to congratulate you over your email success in our computer
balloting held on FEBUARY 13TH,2008. This is a Millennium Scientific
Computer Game in which email addresses were used. It is a promotional
program aimed at encouraging internet users; therefore you do not need
to buy ticket to enter for it. You have been approve for the star prize
of €987,248,00 (Nine Hundred And Eighty Seven Thousand, Two Hundred And
forty Eight Euros Only).To claim your winning prize you are to contact
the appointed claim agent as soon as possible for the immediate release
of your winnings with the following information below:



Name:.............................
Age:..............................
Sex:..............................
Address:..........................
Email:............................
Phone:............................
Occupation:.......................
Company:..........................
Country:..........................


Mr Goodluck Pereda
Liberty Seguros Trust Agency.
Mario Cabre Sin Numero,
28016, Madrid - Spain
E-mail: (goodluckkpereda@aim.com)

Ref No.ES/037/11/06/MD
Batch No: WNTO/7416/VA/ES
Lucky No: 07-13-31.54-640
Serial No: MUOTI/82536

 The Validity period of the winnings is for 20 working days hence you are
expected to make your claims immediately, any claim not made before this
date will be returned to the MINISTERIO DE E CONOMIA Y HACIENDA .

     Note:You are advised to keep this winning very confidential until you
receive your lump prize in your account or optional cheque issuance
to you,This is a protective measure put in place to avoid people
applying for your winnig fund,as we have had cases like this before.


::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
The information transmitted is intended only for the person or entity to
whom or which it is addressed.Unauthorised use, disclosure orcopying is
strictly prohibited.The sender accepts no liability for the improper
ransmission of this communication nor for any delay in its receipt.

From Loopers-Delight-request@loopers-delight.com  Sun Feb 17 01:23:55 2008
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Date: Sat, 16 Feb 2008 19:23:52 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT best new NAMM show product
References: <000501c870f8$f58cb9e0$6601a8c0@williamsteed>
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In viewing the guitar amp I wondered to myself, "Why would anyone name  
their product a f'n f'r?"

Then I saw the pricetag.  Oh f......!!!!!!

-- Kevin

Quoting William Walker <billwalker@baymoon.com>:

> It had to happen,
>
> http://www.metasonix.com/index.php?option=com_content
> <http://www.metasonix.com/index.php?option=com_content&task=view&id=36>
> &task=view&id=36
>
>
>
> I hope I don't offend anyone.
>
> Bill
>
>



From Loopers-Delight-request@loopers-delight.com  Sun Feb 17 01:29:43 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Re: Repeater RIP , time stretch Midi notes, pseudo time stretch on LP-1, etc
Date: Sat, 16 Feb 2008 17:29:42 -0800
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 I haven't paid very close attention to this thread so if I'm redundant my
apologies. 

You can't really overdub after time stretching on the Repeater, with the
exception of content that is within very close range of the original tempo,
otherwise you get a Tempos low alert on the display and it simply won't
record. There is not an all tracks command where by you can tell all the
tracks to obey midi note commands. You do have to manually select which
tracks you want to have controlled via midi note command from the front
panel, or program note commands for individual tracks via a midi pedal or
controller. I also had a dedicated preset to activate two CC pedals, one for
time stretch and one for time and pitch stretch, and that same preset also
reset the pitch and BPM back to the original tempo and pitch, when I pressed
it again. As Per said I also used a Roland guitar synth and its onboard
appreciator to trigger the repeater much faster than by simply playing a
midi controller in real time. You can create some very startling effects
with this technique.

 It's been a while since I've used the Repeater opting for a more
streamlined and improvisation friendly approach with the LP-1, and using the
Looperlative almost exclusively, though I do want to do some recording with
the Repeater more as a resampling tool at the end of my signal chain. I'm
really sorry Electrix went under.  I got a whiff of it last fall when I
talked to Adam Scolaro, he said nothing to indicate trouble but his voice
told a different story, he said things were going great, but it seemed like
a brave face to me. The Electrix update was a big disappointment to me. Even
though it included some cool new features, it failed to really correct the
ongoing issue with time stretch at the end of an initial track record (punch
out time), that sometimes but not also ways would occur., being obviously
more noticeable on rhythmic passages if you weren't in tempo with the what
the display BPM was reading (power up default being 120PBM).  Now   if I
used midi tap tempo to tell the repeater what my tempo was before I started
I could minimize this phenomena. Actually the new software seemed to
minimize this but not totally correct it. Also it seemed that the new
version software caused the RPTR to freeze up more. Luckily they instituted
a midi accessible powered re-boot function, but even that required
dedication of two midi presets side by side that you had to hit in the right
sequence.. I don't know if I'd recommend it now or not and I feel
embarrassed at the time that I did recommend it as I really hadn't
completely put it through its paces when I gave it the thumbs up. My
apologies, you may curse me now. One can get a pseudo time stretch on the
Looperlative, by assigning an expression pedal to control track speed
(sampling rate, there are currently two on the LP-1 like a DL4 has,). Its
much more limited in range than the Repeater, basically the range of an
octave and either half the speed or twice the speed depending on which
sampling rate you record the initial loop at, You can definitely get the
tape slow down speed up effect though not as radical as with the Repeater.
You can also move the CC pedal between track speeds as you record with the
LP-1 which produces some truly bizarre pitch bending artifacts. I haven't
found away to integrate that sound in to my music yet but some of you more
avant garde people might find it useful.

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>&nbsp;I haven&#8217;t paid very close attention to =
this thread so
if I&#8217;m redundant my apologies. <o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>You can&#8217;t really overdub after time stretching =
on the Repeater,
with the exception of content that is within very close range of the =
original
tempo, otherwise you get a Tempos low alert on the display and it simply =
won&#8217;t
record. There is not an all tracks command where by you can tell all the =
tracks
to obey midi note commands. You do have to manually select which tracks =
you
want to have controlled via midi note command from the front panel, or =
program
note commands for individual tracks via a midi pedal or controller. I =
also had
a dedicated preset to activate two CC pedals, one for time stretch and =
one for
time and pitch stretch, and that same preset also reset the pitch and =
BPM back
to the original tempo and pitch, when I pressed it again. As Per said I =
also
used a Roland guitar synth and its onboard appreciator to trigger the =
repeater
much faster than by simply playing a midi controller in real time. You =
can
create some very startling effects with this =
technique.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>&nbsp;It&#8217;s been a while since I&#8217;ve used =
the Repeater
opting for a more streamlined and improvisation friendly approach with =
the LP-1,
and using the Looperlative almost exclusively, though I do want to do =
some
recording with the Repeater more as a resampling tool at the end of my =
signal
chain. I&#8217;m really sorry Electrix went under. &nbsp;I got a whiff =
of it last
fall when I talked to Adam Scolaro, he said nothing to indicate trouble =
but his
voice told a different story, he said things were going great, but it =
seemed
like a brave face to me. The Electrix update was a big disappointment to =
me.
Even though it included some cool new features, it failed to really =
correct the
ongoing issue with time stretch at the end of an initial track record =
(punch
out time), that sometimes but not also ways would occur., being =
obviously more
noticeable on rhythmic passages if you weren&#8217;t in tempo with the =
what the
display BPM was reading (power up default being 120PBM). &nbsp;Now =
&nbsp;&nbsp;if I used midi
tap tempo to tell the repeater what my tempo was before I started I =
could
minimize this phenomena. Actually the new software seemed to minimize =
this but
not totally correct it. Also it seemed that the new version software =
caused the
RPTR to freeze up more. Luckily they instituted a midi accessible =
powered
re-boot function, but even that required dedication of two midi presets =
side by
side that you had to hit in the right sequence&#8230;. I don&#8217;t =
know if I&#8217;d
recommend it now or not and I feel embarrassed at the time that I did =
recommend
it as I really hadn&#8217;t completely put it through its paces when I =
gave it
the thumbs up. My apologies, you may curse me now. One can get a pseudo =
time stretch
on the Looperlative, by assigning an expression pedal to control track =
speed
(sampling rate, there are currently two on the LP-1 like a DL4 has,). =
Its much
more limited in range than the Repeater, basically the range of an =
octave and
either half the speed or twice the speed depending on which sampling =
rate you
record the initial loop at, You can definitely get the tape slow down =
speed up
effect though not as radical as with the Repeater. You can also move the =
CC
pedal between track speeds as you record with the LP-1 which produces =
some truly
bizarre pitch bending artifacts. I haven&#8217;t found away to integrate =
that
sound in to my music yet but some of you more avant garde people might =
find it useful.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Bill<o:p></o:p></span></font></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Sun Feb 17 02:06:30 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: DL-4 problemos
Date: Sat, 16 Feb 2008 18:06:30 -0800
Message-ID: <002801c87109$b65d6ec0$6601a8c0@williamsteed>
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90 % of DL-4 failure is in the switches which consist of two parts: 

 the mechanical plunger which in itself has at least 5 separate parts
including two springs,

and the tack switch that is hard wired to the PC board.

 Its easy to open a dl-4 remove all of the knobs and nuts from the out side
and remove the pc board to examine the plungers. Sometimes one of the
plunger springs can become miss aligned or fall out, and you might be able
to put it back together if its come apart They do wear out over time and are
not expensive to replace. You might need to order them through your local
line 6 dealer, or perhaps online customer service. The tack switches are
also cheap but require soldering to the PC board. They also give out put not
as often as the plungers. You might check the archives for more on this
subject.

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>90 % of DL-4 failure is in the switches which consist =
of two
parts: <o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>&nbsp;the mechanical plunger which in itself has at =
least 5 separate
parts including two springs,<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>and the tack switch that is hard wired to the PC =
board.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>&nbsp;Its easy to open a dl-4 remove all of the knobs =
and nuts
from the out side and remove the pc board to examine the plungers. =
Sometimes one
of the plunger springs can become miss aligned or fall out, and you =
might be
able to put it back together if its come apart They do wear out over =
time and
are not expensive to replace. You might need to order them through your =
local
line 6 dealer, or perhaps online customer service. The tack switches are =
also
cheap but require soldering to the PC board. They also give out put not =
as
often as the plungers. You might check the archives for more on this =
subject.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Bill<o:p></o:p></span></font></p>

</div>

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From Loopers-Delight-request@loopers-delight.com  Sun Feb 17 03:15:42 2008
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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
References: <000501c870f8$f58cb9e0$6601a8c0@williamsteed>
Subject: Re: OT best new NAMM show product
Date: Sat, 16 Feb 2008 20:15:41 -0700
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What the #@!?*#!  Is this for real? Love the art. :)

Kris



----- Original Message -----=20



  It had to happen,

  =
http://www.metasonix.com/index.php?option=3Dcom_content&task=3Dview&id=3D=
36

  =20

  I hope I don't offend anyone.

  Bill

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<DIV><FONT face=3DArial size=3D2>What the #@!?*#!&nbsp; Is this for =
real? Love the=20
art. :)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black">&nbsp;</DIV>
  <DIV><BR></DIV>
  <DIV class=3DSection1>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">It had to=20
  happen,<o:p></o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><A=20
  =
href=3D"http://www.metasonix.com/index.php?option=3Dcom_content&amp;task=3D=
view&amp;id=3D36">http://www.metasonix.com/index.php?option=3Dcom_content=
&amp;task=3Dview&amp;id=3D36</A><o:p></o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p>&nbsp;</o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I hope I don=92t offend=20
  anyone.<o:p></o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial">Bill<o:p></o:p></SPAN></FONT></P></DIV></BLOCKQUOTE></BODY></HTML>=


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Message-ID: <588ce11d0802161918g7337fe27m9c7e8ad2790a4717@mail.gmail.com>
Date: Sat, 16 Feb 2008 19:18:40 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT best new NAMM show product
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	 <02db01c87113$60ea6330$6601a8c0@americas.hpqcorp.net>
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Well this is from the company that makes the "butt probe,"

(The nice thing about VSTs is that if the developer gives it a stupid
name, no one will notice on stage)

: )

On Feb 16, 2008 7:15 PM, Krispen Hartung <khartung@cableone.net> wrote:
>
>
> What the #@!?*#!  Is this for real? Love the art. :)
>
> Kris

-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

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From: "Krispen Hartung" <khartung@cableone.net>
To: Loopers-Delight@loopers-delight.com
Subject: Free Jazz Sessions w/ Looping
Date: Sat, 16 Feb 2008 21:24:56 -0700
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...just some free jazz sessions I recorded with a few guys in Boise the =
other day (guitar, sax, drums)...the first time we have ever played =
together, in fact. Nothing special with the looping, just the Boss RC-2, =
my mini electric guitar, and a Fender Pro Junior. Pretty damn basic and =
raw.

No. 1 -  http://www.box.net/shared/tqo2arvw4g
No. 2 -  http://www.box.net/shared/rt9xhs80g8
No. 3 -  http://www.box.net/shared/ue280a9og8
No. 4 -  http://www.box.net/shared/05c96gykgk
No. 5 -  http://www.box.net/shared/uw4m30d8gw

Kris


Krispen Hartung
http://www.krispenhartung.com
http://www.myspace.com/krispenhartung=20
info@krispenhartung.com
 
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff background=3D"">
<DIV><FONT face=3DArial size=3D2>...just some free jazz sessions I =
recorded with a=20
few guys in Boise the other day (guitar, sax, drums)...the first time we =
have=20
ever played together, in fact. Nothing special with the looping, just =
the Boss=20
RC-2, my mini electric guitar, and a Fender Pro Junior. Pretty damn =
basic and=20
raw.<BR><BR>No. 1 -&nbsp; <A=20
href=3D"http://www.box.net/shared/tqo2arvw4g">http://www.box.net/shared/t=
qo2arvw4g</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>No. 2 -&nbsp; <A=20
href=3D"http://www.box.net/shared/rt9xhs80g8">http://www.box.net/shared/r=
t9xhs80g8</A></FONT></DIV><FONT=20
face=3DArial size=3D2>
<DIV>No. 3 -&nbsp; <A=20
href=3D"http://www.box.net/shared/ue280a9og8">http://www.box.net/shared/u=
e280a9og8</A></DIV>
<DIV>No. 4 -&nbsp; <A=20
href=3D"http://www.box.net/shared/05c96gykgk">http://www.box.net/shared/0=
5c96gykgk</A></DIV>
<DIV>No. 5 -&nbsp; <A=20
href=3D"http://www.box.net/shared/uw4m30d8gw">http://www.box.net/shared/u=
w4m30d8gw</A></DIV>
<DIV><BR>Kris<BR><BR><BR>Krispen Hartung<BR><A=20
href=3D"http://www.krispenhartung.com" target=3D_front><FONT =
face=3DArial=20
size=3D2>http://www.krispenhartung.com</FONT></A><BR><A=20
href=3D"http://www.myspace.com/krispenhartung"><FONT face=3DArial=20
size=3D2>http://www.myspace.com/krispenhartung</FONT></A><FONT =
face=3DArial size=3D2>=20
<BR></FONT><A href=3D"mailto:info@krispenhartung.com"><FONT face=3DArial =

size=3D2>info@krispenhartung.com</FONT></A><BR><IMG height=3D100=20
src=3D"cid:030201c8711d$0cf17480$6601a8c0@americas.hpqcorp.net" =
width=3D67><FONT=20
face=3D"Times New Roman" =
size=3D3>&nbsp;</FONT></FONT></DIV></BODY></HTML>

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From: "Matthew F. McCabe" <mmccabe@finleysound.com>
Subject: Re: OT best new NAMM show product
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I believe it is.  The company is based about 40 minutes from me and I =20=

plan to check it out myself.  (Not that I'll be able to afford one =20
EVER.)

---
King Never
www.kingnever.com




On Feb 16, 2008, at 7:15 PM, Krispen Hartung wrote:

> What the #@!?*#!  Is this for real? Love the art. :)
>
> Kris
>
>
>
> ----- Original Message -----
>
>
> It had to happen,
> http://www.metasonix.com/index.php?option=3Dcom_content&task=3Dview&id=3D=
36
>
> I hope I don=92t offend anyone.
> Bill


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
 I believe it is. =A0The company is based about 40 minutes from me and I =
plan to check it out myself. =A0(Not that I'll be able to afford one =
EVER.)<div><br><div> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; border-spacing: 0px 0px; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">---</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">King =
Never</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><a =
href=3D"http://www.finleysound.com/kingnever"><span =
class=3D"Apple-style-span" style=3D"color: rgb(0, 0, 238); =
-khtml-text-decorations-in-effect: underline; =
">www.kingnever.com</span></a></div><div><br =
class=3D"khtml-block-placeholder"></div><div><br =
class=3D"khtml-block-placeholder"></div><br =
class=3D"Apple-interchange-newline"></span> </div><br><div><div>On Feb =
16, 2008, at 7:15 PM, Krispen Hartung wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; orphans: 2; text-align: auto; text-indent: =
0px; text-transform: none; white-space: normal; widows: 2; word-spacing: =
0px; -webkit-border-horizontal-spacing: 0px; =
-webkit-border-vertical-spacing: 0px; =
-webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: =
auto; -webkit-text-stroke-width: 0; "><div><font face=3D"Arial" =
size=3D"2">What the #@!?*#!=A0 Is this for real? Love the art. =
:)</font></div><div><font face=3D"Arial" =
size=3D"2"></font>=A0</div><div><font face=3D"Arial" =
size=3D"2">Kris</font></div><div><font face=3D"Arial" =
size=3D"2"></font>=A0</div><div>=A0</div><div>=A0</div><div>----- =
Original Message -----</div><blockquote dir=3D"ltr" =
style=3D"padding-right: 0px; padding-left: 5px; margin-left: 5px; =
border-left-color: rgb(0, 0, 0); border-left-width: 2px; =
border-left-style: solid; margin-right: 0px; "><div =
style=3D"background-image: initial; background-repeat: initial; =
background-attachment: initial; -webkit-background-clip: initial; =
-webkit-background-origin: initial; background-color: rgb(228, 228, =
228); font: normal normal normal 10pt/normal arial; background-position: =
initial initial; ">=A0</div><div><br></div><div class=3D"Section1"><div =
style=3D"font-size: 12pt; margin-top: 0in; margin-right: 0in; =
margin-bottom: 0pt; margin-left: 0in; font-family: 'Times New Roman'; =
"><font face=3D"Arial" size=3D"2"><span style=3D"font-size: 10pt; =
font-family: Arial; ">It had to =
happen,<o:p></o:p></span></font></div><div style=3D"font-size: 12pt; =
margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: =
0in; font-family: 'Times New Roman'; "><font face=3D"Arial" =
size=3D"2"><span style=3D"font-size: 10pt; font-family: Arial; "><a =
href=3D"http://www.metasonix.com/index.php?option=3Dcom_content&amp;task=3D=
view&amp;id=3D36" style=3D"color: blue; text-decoration: underline; =
">http://www.metasonix.com/index.php?option=3Dcom_content&amp;task=3Dview&=
amp;id=3D36</a><o:p></o:p></span></font></div><div style=3D"font-size: =
12pt; margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; =
margin-left: 0in; font-family: 'Times New Roman'; "><font face=3D"Arial" =
size=3D"2"><span style=3D"font-size: 10pt; font-family: Arial; =
"><o:p>=A0</o:p></span></font></div><div style=3D"font-size: 12pt; =
margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: =
0in; font-family: 'Times New Roman'; "><font face=3D"Arial" =
size=3D"2"><span style=3D"font-size: 10pt; font-family: Arial; ">I hope =
I don=92t offend anyone.<o:p></o:p></span></font></div><div =
style=3D"font-size: 12pt; margin-top: 0in; margin-right: 0in; =
margin-bottom: 0pt; margin-left: 0in; font-family: 'Times New Roman'; =
"><font face=3D"Arial" size=3D"2"><span style=3D"font-size: 10pt; =
font-family: Arial; =
">Bill<o:p></o:p></span></font></div></div></blockquote></span></blockquot=
e></div><br></div></body></html>=

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basic and beauty...
sometimes simple is the way...

thanx for sharing,
raul.

2008/2/17, Krispen Hartung <khartung@cableone.net>:
>
>  ...just some free jazz sessions I recorded with a few guys in Boise the
> other day (guitar, sax, drums)...the first time we have ever played
> together, in fact. Nothing special with the looping, just the Boss RC-2, my
> mini electric guitar, and a Fender Pro Junior. Pretty damn basic and raw.
>
> No. 1 -  http://www.box.net/shared/tqo2arvw4g
> No. 2 -  http://www.box.net/shared/rt9xhs80g8
> No. 3 -  http://www.box.net/shared/ue280a9og8
> No. 4 -  http://www.box.net/shared/05c96gykgk
> No. 5 -  http://www.box.net/shared/uw4m30d8gw
>
> Kris
>
>
> Krispen Hartung
> http://www.krispenhartung.com
> http://www.myspace.com/krispenhartung
> info@krispenhartung.com
>
>



-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra
TPO at Jamendo: http://www.jamendo.com

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basic and beauty...<br>sometimes simple is the way...<br><br>thanx for sharing,<br>raul.<br><br><div><span class="gmail_quote">2008/2/17, Krispen Hartung &lt;<a href="mailto:khartung@cableone.net">khartung@cableone.net</a>&gt;:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">






<div bgcolor="#ffffff">
<div><font face="Arial" size="2">...just some free jazz sessions I recorded with a 
few guys in Boise the other day (guitar, sax, drums)...the first time we have 
ever played together, in fact. Nothing special with the looping, just the Boss 
RC-2, my mini electric guitar, and a Fender Pro Junior. Pretty damn basic and 
raw.<br><br>No. 1 -&nbsp; <a href="http://www.box.net/shared/tqo2arvw4g" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.box.net/shared/tqo2arvw4g</a></font></div>
<div><font face="Arial" size="2">No. 2 -&nbsp; <a href="http://www.box.net/shared/rt9xhs80g8" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.box.net/shared/rt9xhs80g8</a></font></div><font face="Arial" size="2">
</font><div><font face="Arial" size="2">No. 3 -&nbsp; <a href="http://www.box.net/shared/ue280a9og8" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.box.net/shared/ue280a9og8</a></font></div>

<div><font face="Arial" size="2">No. 4 -&nbsp; <a href="http://www.box.net/shared/05c96gykgk" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.box.net/shared/05c96gykgk</a></font></div>
<div><font face="Arial" size="2">No. 5 -&nbsp; <a href="http://www.box.net/shared/uw4m30d8gw" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">http://www.box.net/shared/uw4m30d8gw</a></font></div>
<div><font face="Arial" size="2"><br>Kris<br><br><br>Krispen Hartung<br><a href="http://www.krispenhartung.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><font face="Arial" size="2">http://www.krispenhartung.com</font></a><br>
<a href="http://www.myspace.com/krispenhartung" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><font face="Arial" size="2">http://www.myspace.com/krispenhartung</font></a><font face="Arial" size="2"> 
<br></font><a href="mailto:info@krispenhartung.com" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><font face="Arial" size="2">info@krispenhartung.com</font></a><br><img src="cid:030201c8711d$0cf17480$6601a8c0@americas.hpqcorp.net" height="100" width="67"><font face="Times New Roman" size="3">&nbsp;</font></font></div>
</div>
</blockquote></div><br><br clear="all"><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo">http://www.telefonica.net/web2/tpo</a><br>Chain Tape Collective: <a href="http://www.ct-collective.com">http://www.ct-collective.com</a><br>
TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra">http://www.myspace.com/theplayingorchestra</a><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a>

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About Metasonix's Fucking Fucker amplifier,
Art Simon wrote:

"Well this is from the company that makes the "butt probe,"

I remember distinctly a two week period at the beginning of 7th grade that a 
bunch of
us nerds and geeks who had hung out together (in small numbers against the 
scary social
vicissitudes of male teenage junior high school reality) discovered that we 
were 'old enough' and 'free' enough to talk
about anything we wanted to without any adult supervision as our own little 
lunch table was conveniently
separated from the others in the quad of our school.

For two week's straight, we sat around on the benches surrounding this 
wizened oak tree and
 it was  'booger pick'  this and  'butt wipe' that...............we
said "fuck" a lot to show how grownup and liberated we were and were, 
generally, used as much  gross
fart humor as little boys can be use at a certain age.    Do young women go 
through a same phase?  I just don't know
because women were really scary (and alluring) when I was 13 years.

Then we grew out of it....................two weeks later and that was that.

Great to see a successful botique company is finally being run by very 
bright, talented
(and newly liberated) 13 year old, pimply faced boys!!!!!

LOL

Rick Walker 

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Have any of you heard the amp yet?


toby
----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Sunday, February 17, 2008 12:24 AM
Subject: Re: OT best new NAMM show product


> About Metasonix's Fucking Fucker amplifier,
> Art Simon wrote:
>
> "Well this is from the company that makes the "butt probe,"
>
> I remember distinctly a two week period at the beginning of 7th grade that 
> a bunch of
> us nerds and geeks who had hung out together (in small numbers against the 
> scary social
> vicissitudes of male teenage junior high school reality) discovered that 
> we were 'old enough' and 'free' enough to talk
> about anything we wanted to without any adult supervision as our own 
> little lunch table was conveniently
> separated from the others in the quad of our school.
>
> For two week's straight, we sat around on the benches surrounding this 
> wizened oak tree and
> it was  'booger pick'  this and  'butt wipe' that...............we
> said "fuck" a lot to show how grownup and liberated we were and were, 
> generally, used as much  gross
> fart humor as little boys can be use at a certain age.    Do young women 
> go through a same phase?  I just don't know
> because women were really scary (and alluring) when I was 13 years.
>
> Then we grew out of it....................two weeks later and that was 
> that.
>
> Great to see a successful botique company is finally being run by very 
> bright, talented
> (and newly liberated) 13 year old, pimply faced boys!!!!!
>
> LOL
>
> Rick Walker
> 

From Loopers-Delight-request@loopers-delight.com  Sun Feb 17 08:50:00 2008
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	"LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: Open letter to Peter Toms of Condor Electronics re: the demise of Electrix
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Dear Tom,

I wanted to thank you on behalf of all of the community at loopers delight 
and in the larger international
live looping movement for having been such a strong support of the Electrix 
Repeater users throughout
the long and sometimes frustrating vicissitudes of Electrix's history over 
the years.

You've always been a friendly and helpful font of information (and repair) 
and a great support to Repeater users everywhere and
I am greatly relieved to hear that you now have the stock of replacement 
parts (and the most recent
software upgrade for the hardware Repeater) and are committed to supporting 
this wonderful and
innovative instrument.

All the best to you,  and as a service to our community (and those Repeater 
users, like myself, who
are not on the Repeater Users group at Yahoo.com)  I'm including
the address and contact information for Condor, Electronics so that everyone 
knows how to reach
you if they have future problems with their Repeaters.

Thanks again for your attitude and your service to our community.
If you are a looper yourself,   LOOP ON and please accept my invitation to 
come
perform at the Y2K8 International Live Looping Festival as a musician or
, lol,  do onsight repair of failing Repeaters <wink>

     If you are not,    LOOP ON , ANYWAY!

yours,   sincerely and appreciatively , Rick Walker

founder of the Y2K series of Live Looping Festivals
www.y2kloopfest.com
moderator LiveLoopers tribe at Tribe.net
Repeater owner and lover


***********
contact Peter Toms for Electrix Repairs and Repeater OS upgrade at:

ptoms@condor-electronics.com


CONDOR ELECTRONICS  c/o Peter Toms
125 N 36th St Seattle, WA United States 

From Loopers-Delight-request@loopers-delight.com  Sun Feb 17 13:54:32 2008
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Date: Sun, 17 Feb 2008 08:54:29 -0500
From: "Warren Sirota" <wsirota@wsdesigns.com>
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Thanks guys. I appreciate the comments.

Ted, I agree with you on Afrique. It kind of got abandoned when I
realized for sure that I had to take the tempo down further to produce
anything hip-hop-ish. I should get back to it and take it further.

The middle eastern part in Tuffer is there, of course. Not by plan
(tho it certainly fits for an urban talk show in multicultural NYC),
it's just a mode I like to use, and it ended up fitting well with that
wah sound.

On Feb 16, 2008 12:37 PM, tEd (R) KiLLiAn <tedkillian@charter.net> wrote:
> Hi there Warren,
>
> Glad to see/hear that you're back among us.
>
> Listened to the two tracks.
>
> I really liked the "Afrique" one but it was much, much too short.
>
> It was over before it got started, and it seemed like it might be going
> somewhere interesting.
>
> I'd like to see what you'd do in the same vein only longer (six minutes
> like the other piece).
>
> Interesting combination of wah-wah in a sort of techno setting on
> "Tuffer".
>
> Do I detect a sort of middle-eastern influence somewhere around 3-4
> minuites in?
>
> Nice to see you back in this motley forum.
>
> Best,
>
> Ted
>
>
> On Feb 16, 2008, at 8:06 AM, Warren Sirota wrote:
>
> > Hi,
> >
> > Y'all may have noticed I haven't been around for a while.
>
> [snip]
>
> > So I've produced a couple of pieces I'm quite
> > happy with, that show off the wildman guitarist side of me.
>
> [snip]
>
>
> > So, if you get a chance, I'd love you to listen to Tuffer at
> > http://warrensirota.com/Brian/Tuffer.mp3 and Afrique at
> > http://warrensirota.com/Solostuff/afrique.mp3.
>
>

From beachsoccer@web.jexiste.org  Sun Feb 17 16:47:52 2008
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Subject: Devenez partenaire du Beach soccer à Cannes
From: natacha0013@yahoo.fr
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<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
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<p class="MsoNormal" align="center"><b><font face="Arial" size="4">Dossier en 
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From Loopers-Delight-request@loopers-delight.com  Sun Feb 17 19:18:11 2008
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 I wonder
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Per Boysen wrote:

> I read up on Usine and it seems very interesting. Somewhere in between
> Numerology and Bidule. Thank you for hinting! But it only runs on
> Windows, which I think is not very "future proof" for me in
> experimental music, since I already use too many great OS X tools.

Well, there's always Bootcamp ... <g>

    Ian

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Subject: Re: What will become of the Repeater pitch stretching techology, I wonder
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> Per Boysen wrote:
>
> > I read up on Usine and it seems very interesting. Somewhere in between
> > Numerology and Bidule. Thank you for hinting! But it only runs on
> > Windows, which I think is not very "future proof" for me in
> > experimental music, since I already use too many great OS X tools.
>
On Feb 17, 2008 8:17 PM, Ian Petersen <iep@mail.dk> wrote:
> Well, there's always Bootcamp ... <g>
>
>     Ian

Yes, that's awesome! I use BootCamp for Mobius and SoundForge. Usine
looks very good, but I really don't need Repeater-like
time/pitch-stretching badly enough for buying it (besides it hasn't
been proved yet that you CAN do that in Usine). In many way I find it
more fun to use old-school rate/speed shift, like in the EDP,
Looperlative, Augustus Loop, Mobius, Logelloop etc etc. The changing
loop length adds a little rhythmic dimension as well that I'm just
starting to learn how to use creatively.
-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 01:14:18 2008
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How do you do that?

On Feb 14, 2008, at 3:59 PM, Per Boysen wrote:

>>> Well that sucks, I was really looking forward to the Repeater  
>>> VST, but
>>> I guess it's not much of a surprise.
>
>
> Yes, that sucks. But the Virtual Repeater Pro was never intended as a
> VST plug-in anyway. They described it quite well in the press release
> of october 2007 and it was only meant to be a standalone application.
>
> My interest in the VRP was that I've been hoping for a nice OS X
> looper. However, this week SooperLooper got full AU support which
> makes it fit nicely as a plug-in hosted by MainStage. For more
> experimental fun I'm watching out for the next Logelloop upgrade.
>
> -- 
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>

From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 01:17:45 2008
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From: Chris Sewell <lunamusic@mac.com>
Subject: Re: Open letter to Peter Toms of Condor Electronics re: the demise of Electrix
Date: Sun, 17 Feb 2008 20:17:40 -0500
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You must have had the secret email or phone number. I never got shit  
from them when I had my repeater.
On Feb 17, 2008, at 3:49 AM, Rick Walker wrote:

> Dear Tom,
>
> I wanted to thank you on behalf of all of the community at loopers  
> delight and in the larger international
> live looping movement for having been such a strong support of the  
> Electrix Repeater users throughout
> the long and sometimes frustrating vicissitudes of Electrix's  
> history over the years.
>
> You've always been a friendly and helpful font of information (and  
> repair) and a great support to Repeater users everywhere and
> I am greatly relieved to hear that you now have the stock of  
> replacement parts (and the most recent
> software upgrade for the hardware Repeater) and are committed to  
> supporting this wonderful and
> innovative instrument.
>
> All the best to you,  and as a service to our community (and those  
> Repeater users, like myself, who
> are not on the Repeater Users group at Yahoo.com)  I'm including
> the address and contact information for Condor, Electronics so that  
> everyone knows how to reach
> you if they have future problems with their Repeaters.
>
> Thanks again for your attitude and your service to our community.
> If you are a looper yourself,   LOOP ON and please accept my  
> invitation to come
> perform at the Y2K8 International Live Looping Festival as a  
> musician or
> , lol,  do onsight repair of failing Repeaters <wink>
>
>     If you are not,    LOOP ON , ANYWAY!
>
> yours,   sincerely and appreciatively , Rick Walker
>
> founder of the Y2K series of Live Looping Festivals
> www.y2kloopfest.com
> moderator LiveLoopers tribe at Tribe.net
> Repeater owner and lover
>
>
> ***********
> contact Peter Toms for Electrix Repairs and Repeater OS upgrade at:
>
> ptoms@condor-electronics.com
>
>
> CONDOR ELECTRONICS  c/o Peter Toms
> 125 N 36th St Seattle, WA United States

From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 01:18:53 2008
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From: Chris Sewell <lunamusic@mac.com>
Subject: Re: SL In Mainstage,  (Was The Future of Electrix)
Date: Sun, 17 Feb 2008 20:18:49 -0500
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Oh sorry, I didnt see this. It was 312 emails down.
On Feb 17, 2008, at 8:14 PM, Chris Sewell wrote:

> How do you do that?
>
> On Feb 14, 2008, at 3:59 PM, Per Boysen wrote:
>
>>>> Well that sucks, I was really looking forward to the Repeater  
>>>> VST, but
>>>> I guess it's not much of a surprise.
>>
>>
>> Yes, that sucks. But the Virtual Repeater Pro was never intended as a
>> VST plug-in anyway. They described it quite well in the press release
>> of october 2007 and it was only meant to be a standalone application.
>>
>> My interest in the VRP was that I've been hoping for a nice OS X
>> looper. However, this week SooperLooper got full AU support which
>> makes it fit nicely as a plug-in hosted by MainStage. For more
>> experimental fun I'm watching out for the next Logelloop upgrade.
>>
>> -- 
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>>
>

From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 02:41:41 2008
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Subject: Peter Toms Rawks
Date: Sun, 17 Feb 2008 18:41:40 -0800
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I'd like to second Rick....

Peter Toms gets my absolute highest recommendation. He fixed one of  
my Repeaters and did the noise mod on both. And he got them back to  
me really quickly so I could get back to work. Hopefully, they won't  
need servicing again, but I have a feeling they will...and when that  
time comes I hope Peter is still willing to fix them!!


From francesinfo@yahoo.co.uk  Mon Feb 18 03:29:25 2008
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Date: Mon, 18 Feb 2008 03:01:27 -0000 (GMT)
Subject: Dear Beloved,
From: "Frances novell" <francesinfo@yahoo.co.uk>
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Dear Beloved,
Here writes Frances novell wife of
late Sir annes novell,suffering from cancerous ailment without a child.
 My late
husband deposited the sum of 20 million derived from his vast estates
 and
investment in capital market with his bank here in UK. Recently, my
doctor told me  that I have limited days to liveWith this hard reality
that has  befallen me I have decided to donatethis fund to you and
want you to help me use this gift  to the upkeep of widows,orphans,
and needy financially.
You can contact me through my personal email
address:francescharitylove@yahoo.co.uk



From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 04:59:00 2008
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From: Kim Flint <kflint@loopers-delight.com>
Subject: Re: OT best new NAMM show product
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to the extent that I saw it in person at the NAMM show, it is real.

Whether it makes real sound or not, or whether anybody would really pay 
$5000 for whatever sound it makes, that I don't know.

The ad copy claims the Fucking Fucker is a comic book character. So I guess 
the ideal customer is a pervy nerd who plays guitar and has $5000 sitting 
around that he (I'm assuming it will be a he) did not already spend on 
comic books or video games.

kindof a long shot business plan - the best kind.

kim

At 07:15 PM 2/16/2008, Krispen Hartung wrote:
>What the #@!?*#!  Is this for real? Love the art. :)
>
>Kris
>
>
>
>----- Original Message -----
>
>
>It had to happen,
>
><http://www.metasonix.com/index.php?option=com_content&task=view&id=36>http://www.metasonix.com/index.php?option=com_content&task=view&id=36
>
>
>
>I hope I don't offend anyone.
>
>Bill

______________________________________________________________________
Kim Flint                     | Looper's Delight
kflint@loopers-delight.com    | http://www.loopers-delight.com 

From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 05:12:28 2008
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Subject: Re: What will become of the Repeater pitch stretching
  techology, I wonder
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At 12:12 AM 2/15/2008, Rick Walker wrote:
>I so wish some hardware looper would incorporate the pitch stretching
>technology of the Electrix Repeater.

as I recall the pitch technology used in the Repeater and other Electix 
products is owned by their original parent company IVL. IVL continues to 
use it for their Karaoke products. http://www.ivl.com/

kim


______________________________________________________________________
Kim Flint                     | Looper's Delight
kflint@loopers-delight.com    | http://www.loopers-delight.com 

From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 08:22:40 2008
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To: loopers-delight <Loopers-Delight@loopers-delight.com>
Subject: Re: SL In Mainstage, (Was The Future of Electrix)
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One way is checking the web site at http://logelloop.logellou.com/Home.html

I also think the developer use to announce here on the loopers list
whenever a major upgrade is due.

Per



On Feb 18, 2008 2:14 AM, Chris Sewell <lunamusic@mac.com> wrote:
> How do you do that?
>
> On Feb 14, 2008, at 3:59 PM, Per Boysen wrote:
>
> >>> Well that sucks, I was really looking forward to the Repeater
> >>> VST, but
> >>> I guess it's not much of a surprise.
> >
> >
> > Yes, that sucks. But the Virtual Repeater Pro was never intended as a
> > VST plug-in anyway. They described it quite well in the press release
> > of october 2007 and it was only meant to be a standalone application.
> >
> > My interest in the VRP was that I've been hoping for a nice OS X
> > looper. However, this week SooperLooper got full AU support which
> > makes it fit nicely as a plug-in hosted by MainStage. For more
> > experimental fun I'm watching out for the next Logelloop upgrade.
> >
> > --
> > Greetings from Sweden
> >
> > Per Boysen
> > www.boysen.se (Swedish)
> > www.looproom.com (international)
> >
>
>



-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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Date: Mon, 18 Feb 2008 10:47:44 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT best new NAMM show product
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	 <02db01c87113$60ea6330$6601a8c0@americas.hpqcorp.net>
	 <6.1.2.0.2.20080217205031.07f68608@loopers-delight.com>
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The art is done by Dave, the creator of the Retarded Animal Babies
videos - http://www.umop.com/  .  Which are hysterical, if you like
completely off color juvenile humor. Dave's also a keyboard player,
synth nut, and all around cool guy.

The vids are NSFW unless you have a boss like I do and watches them too. ;)

Tony

On Feb 17, 2008 11:58 PM, Kim Flint <kflint@loopers-delight.com> wrote:
> to the extent that I saw it in person at the NAMM show, it is real.
>
> Whether it makes real sound or not, or whether anybody would really pay
> $5000 for whatever sound it makes, that I don't know.
>
> The ad copy claims the Fucking Fucker is a comic book character. So I guess
> the ideal customer is a pervy nerd who plays guitar and has $5000 sitting
> around that he (I'm assuming it will be a he) did not already spend on
> comic books or video games.
>
> kindof a long shot business plan - the best kind.
>
> kim
>
> At 07:15 PM 2/16/2008, Krispen Hartung wrote:
> >What the #@!?*#!  Is this for real? Love the art. :)
> >
> >Kris
> >
> >
> >
> >----- Original Message -----
> >
> >
> >It had to happen,
> >
> ><http://www.metasonix.com/index.php?option=com_content&task=view&id=36>http://www.metasonix.com/index.php?option=com_content&task=view&id=36
> >
> >
> >
> >I hope I don't offend anyone.
> >
> >Bill
>
> ______________________________________________________________________
> Kim Flint                     | Looper's Delight
> kflint@loopers-delight.com    | http://www.loopers-delight.com
>
>

From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 16:12:32 2008
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There's an interview with the inventor here...

http://sonicstate.com/news/shownews.cfm?newsid=3D5964

Jeff

From ae000094@alemania.dattaweb.com  Mon Feb 18 16:43:59 2008
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Hello,
 
Following the good position of your country in investment purposes, I decided to propose below mutual business transaction to you.  I hope you will accept it and extend your cooperation to me.  First, I wish to introduce myself to you.  I am Mr. Yom Benson, presently based in the United Kingdom for this matter.
 
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I will give you the tactical formula as soon as we receive your information such as your Private Telephone and Fax Numbers, Contact Mailing Address and your Business or Company Name which would be used to prepare documents for the transfer. 
 
You would be rewarded for your participation in the transaction.
 
Best regards
Yom Benson.





From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 17:53:30 2008
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Date: Mon, 18 Feb 2008 12:47:22 -0500
From: "Tom Ritchford" <tom@swirly.com>
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Subject: back on the list; RC-50 still glitches (but less); weekly show (seeking musicians)
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I'm sure you didn't miss me :-D but I'm back.  For some reason I got
unsubscribed in late November -- I realized it sometime later but
didn't get the time to resub till now.

I bought an RC-50 when it came out, but I was very disappointed, with
two issues:

 - the glitch that occurred when you went from "record" to play.
 - the fact that my left output was 12dB less than my right one.

It was confirmed to me that the first one was common to all units;  I
didn't find anyone with the second problem and assumed I had a bum
unit (but I unfortunately didn't detect it till it was too late).


So I shelved the unit.  This weekend, I brought it out, upgraded the
software, and gave it a whirl.

I knew that the upgrade sort of fixed the glitch, and that's sort of
right.  What really cheered me up was that the second problem also
cleared itself up!  It must somehow be a software glitch - which
actually makes sense now I think about it, the whole thing is
"fly-by-wire" (all levels are digitally controlled).

Yaaay!

However, there's still a glitch-let when I go right from record to
play.  It's small, I've decided it's usable to replace my headrush
(which only does one loop but NEVER glitches), but it's noticeable.

Any hints on how to avoid it?  It only occurs on the first go around...


ALSO:  I'm still doing my Monday nights in the East Village.
http://swirly.com has a little information but I have a lot more music
to upload there.

We're definitely looking to book interesting acts!  There's no $$ now
but there's a good PA, I record everything digitally (though there's
been some glitches with the piece-of-&*#$ MicroTrack II I managed to
get almost everything) and dancers and funny lights and things - and
more to come.

Let me know, off-list, if you wanna do a set.



-- 
 /t

From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 18:28:10 2008
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Date: Mon, 18 Feb 2008 10:21:29 -0800 (PST)
From: S V G <vsyevolod@yahoo.com>
Subject: Re: Open letter to Peter Toms of Condor Electronics
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--0-1288410723-1203358889=:73195
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     Yes, his name is Peter Toms, not Tom.  And yes, he is a member of the RepeaterUsers Yahoo
group, though he is not on the LD mailing list.  And yes, he does quite a bit of Live Looping with
his acoustic double bass.  And yes, (just in case any of you were wondering), his is the main
Electrix repair shop since the early days.  He is currently working out a deal with the now
defunct Electrix to offer the Repeater OS upgrade 2.1.04 for the original price of $129 which of
course goes back to the owners.  And yes, he and Terry Robb also of Condor Electronics are the
ones who came up with the Repeater noise mod a few years back which significantly reduces the CFC
clicking as well as other ground related noise.  And yes, his phone number is 206 633 5190 (not
included in your wonderful post below).  And yes, is sure is convenient to live a few blocks away
from his shop...  :)

      Stephen




Dear Tom,

I wanted to thank you on behalf of all of the community at loopers delight 
and in the larger international
live looping movement for having been such a strong support of the Electrix 
Repeater users throughout
the long and sometimes frustrating vicissitudes of Electrix's history over 
the years.

You've always been a friendly and helpful font of information (and repair) 
and a great support to Repeater users everywhere and
I am greatly relieved to hear that you now have the stock of replacement 
parts (and the most recent
software upgrade for the hardware Repeater) and are committed to supporting 
this wonderful and
innovative instrument.

All the best to you,  and as a service to our community (and those Repeater 
users, like myself, who
are not on the Repeater Users group at Yahoo.com)  I'm including
the address and contact information for Condor, Electronics so that everyone 
knows how to reach
you if they have future problems with their Repeaters.

Thanks again for your attitude and your service to our community.
If you are a looper yourself,   LOOP ON and please accept my invitation to 
come
perform at the Y2K8 International Live Looping Festival as a musician or
, lol,  do onsight repair of failing Repeaters <wink>

     If you are not,    LOOP ON , ANYWAY!

yours,   sincerely and appreciatively , Rick Walker

founder of the Y2K series of Live Looping Festivals
www.y2kloopfest.com
moderator LiveLoopers tribe at Tribe.net
Repeater owner and lover


***********
contact Peter Toms for Electrix Repairs and Repeater OS upgrade at:

ptoms@condor-electronics.com


CONDOR ELECTRONICS  c/o Peter Toms
125 N 36th St Seattle, WA United States 



      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs
--0-1288410723-1203358889=:73195--

From Loopers-Delight-request@loopers-delight.com  Mon Feb 18 19:22:28 2008
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I will play my part to be looped, stop the recording (by pressing  
stop, not play) while either playing the part again or adding a bar  
of similar material. Then I start the loop. This won't work for  
everybody or every song, but it avoids embarrassment at a gig. Also,  
you can send the rhythm guide to the sub out then monitor that  
somehow via headphones or in ear monitors through a mixer, you can  
avoid the glitch and go right into play as long as you are in time.  
Or, import wav files of percussion, make them the length of what you  
want your loop to be. That first time round is now taken care of.  
Gotta love the workaround.




On Feb 18, 2008, at 12:47 PM, Tom Ritchford wrote:

> I'm sure you didn't miss me :-D but I'm back.  For some reason I got
> unsubscribed in late November -- I realized it sometime later but
> didn't get the time to resub till now.
>
> I bought an RC-50 when it came out, but I was very disappointed, with
> two issues:
>
>  - the glitch that occurred when you went from "record" to play.
>  - the fact that my left output was 12dB less than my right one.
>
> It was confirmed to me that the first one was common to all units;  I
> didn't find anyone with the second problem and assumed I had a bum
> unit (but I unfortunately didn't detect it till it was too late).
>
>
> So I shelved the unit.  This weekend, I brought it out, upgraded the
> software, and gave it a whirl.
>
> I knew that the upgrade sort of fixed the glitch, and that's sort of
> right.  What really cheered me up was that the second problem also
> cleared itself up!  It must somehow be a software glitch - which
> actually makes sense now I think about it, the whole thing is
> "fly-by-wire" (all levels are digitally controlled).
>
> Yaaay!
>
> However, there's still a glitch-let when I go right from record to
> play.  It's small, I've decided it's usable to replace my headrush
> (which only does one loop but NEVER glitches), but it's noticeable.
>
> Any hints on how to avoid it?  It only occurs on the first go  
> around...
>
>
> ALSO:  I'm still doing my Monday nights in the East Village.
> http://swirly.com has a little information but I have a lot more music
> to upload there.
>
> We're definitely looking to book interesting acts!  There's no $$ now
> but there's a good PA, I record everything digitally (though there's
> been some glitches with the piece-of-&*#$ MicroTrack II I managed to
> get almost everything) and dancers and funny lights and things - and
> more to come.
>
> Let me know, off-list, if you wanna do a set.
>
>
>
> -- 
>  /t
>

From Service@PayPaL.com  Tue Feb 19 06:04:07 2008
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<body>

<p><font face="Arial" size="2">&nbsp;&nbsp; Dear PayPal
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 19 12:49:53 2008
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Subject: Glitch VST plug in and looped guitar
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I don't recall the free Windows VST plug-in "Glitch" being mentioned
here, so I thought I'd give it a big thumbs up.
http://illformed.org/blog/glitch/
It got a nice mention in the latest Virtual Instruments magazine, so I
downloaded it a couple of days ago. I set up a signal path in Energy
XT where my straight guitar ran parallel to a signal run through
glitch and another run through a pitch shifter (1 octave up) and
another instance of glitch. Glitch sure adds a lot of complexity to a
sound The first track on my myspace.com page, Feb172008, is a short 3
1/2 minute sample. Except for the rhythm (Wave drum, Kalimba, and
shaker) everything else is one-take and very sparse and sustained
single "glitched" guitar notes run through the Elottronix looper.
Great fun, I especially like the "Tape stop" and modulation modules.
-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

From Loopers-Delight-request@loopers-delight.com  Tue Feb 19 13:32:10 2008
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On Feb 19, 2008 1:49 PM, Art Simon <simart@gmail.com> wrote:
> I don't recall the free Windows VST plug-in "Glitch" being mentioned
> here, so I thought I'd give it a big thumbs up.
> http://illformed.org/blog/glitch/
> It got a nice mention in the latest Virtual Instruments magazine, so I
> downloaded it a couple of days ago.


I agree with Art. DBlue Glitch is a classic! There is only a Windows
version made available so it's a cool "spear head gadget" for the
Mobius looper ;-)  I've heard some whining among "Mac Guys" since
there is nothing to match it on that platform. We could also mention
LiveCut from Smartelectronix, that is availalable for both Mac and
Windows. I wouldn't say DBlue Glitch is "the best" but they both sound
different. Especially DBlue I think could be described like "an RMX
for any live audio input". I experimented with it on all eight Mobius
outputs with midi pedals assigned to vary the randomization from zero
to quite a bit. Lots of fun!

On Feb 19, 2008 1:49 PM, Art Simon <simart@gmail.com> wrote:
http://www.myspace.com/artsimon

I guess the DBlue Glitch is what makes for those high pitched beeps on
the guitar drone? Nice mangling.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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On Feb 19, 2008 5:32 AM, Per Boysen <perboysen@gmail.com> wrote:

> I guess the DBlue Glitch is what makes for those high pitched beeps on
> the guitar drone? Nice mangling.

Yep, the modulation module (if I'm saying that right) can give some
good beeps and warbles that remind me of shortwave radio.
-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

From Loopers-Delight-request@loopers-delight.com  Tue Feb 19 16:19:45 2008
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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: Glitch VST plug in and looped guitar
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On Feb 19, 2008, at 5:32 AM, Per Boysen wrote:

> I've heard some whining among "Mac Guys" since
> there is nothing to match it on that platform.


There is Major Malfunction which is sort of similar:

http://www.defectiverecords.com/majormalfunction/index.html

Not free, but looks to have some good glitch potential.

regards

BobC





http://tinyurl.com/yt8f8j

http://www.youtube.com/tynego

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> On Feb 19, 2008, at 5:32 AM, Per Boysen wrote:
>
> > I've heard some whining among "Mac Guys" since
> > there is nothing to match it on that platform.

On Feb 19, 2008 4:52 PM, RP Collier <skeptikalist@gmail.com> wrote:
> There is Major Malfunction which is sort of similar:
>
> http://www.defectiverecords.com/majormalfunction/index.html


Ok, if "sort of similar" counts here I'd also like to mention the EDP
and Mobius. Not truly random unless you go epileptic with it, but well
Sort Of Similar.  I'm of course hinting at the pseudo granular
technics connected with the SUSSubstitute function.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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Hey all,
wanted to do a quick gig spam for a show Thursday, Feb. 22nd at the *Issue
Project Room* in Brooklyn.

plenty of looping with an Echoplex, Sooperlooper, and Ableton Live

*8pm*
*$10*
*a 45 minute set with percussionist Satoshi Takeishi, video artist Luke
DuBois, a double bill with Alex Waterman and Kenta Nagai*

the full description lives here..., together with directions and links.

http://toddreynolds.wordpress.com/2008/02/18/with-satoshi-takeishi-and-luke-dubois-at-issue-project-room/


thanks for your consideration and collegial resonance.


Todd

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Hey all,&nbsp;<div><br class="webkit-block-placeholder"></div><div>wanted to do a quick gig spam for a show Thursday, Feb. 22nd at the <b>Issue Project Room</b> in Brooklyn.</div><div><br class="webkit-block-placeholder"></div>
<div>plenty of looping with an Echoplex, Sooperlooper, and Ableton Live</div><div><br class="webkit-block-placeholder"></div><div><b>8pm</b></div><div><b>$10</b></div><div><b>a 45 minute set with percussionist Satoshi Takeishi, video artist Luke DuBois, a double bill with Alex Waterman and Kenta Nagai</b></div>
<div><br class="webkit-block-placeholder"></div><div>the full description lives here..., together with directions and links.</div><div><br class="webkit-block-placeholder"></div><div><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica">
<a href="http://toddreynolds.wordpress.com/2008/02/18/with-satoshi-takeishi-and-luke-dubois-at-issue-project-room/">http://toddreynolds.wordpress.com/2008/02/18/with-satoshi-takeishi-and-luke-dubois-at-issue-project-room/</a></p>
<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica"><br class="webkit-block-placeholder"></p><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica">thanks for your consideration and collegial resonance.</p>
<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica"><br class="webkit-block-placeholder"></p><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica">Todd</p><p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica">
<br class="webkit-block-placeholder"></p></div><div><br><br>&nbsp;</div>

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From Loopers-Delight-request@loopers-delight.com  Tue Feb 19 17:49:47 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Glitch VST plug in and looped guitar
Date: Tue, 19 Feb 2008 07:44:21 -0800
To: Loopers-Delight@loopers-delight.com
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Hmmmmm...

I went to your Myspace page link and didn't see any "tracks" to listen 
to.

Is this something you have to subscribe in order to get to do?

Unfortunately that's something I don't plan on doing.

Ted


On Feb 19, 2008, at 4:49 AM, Art Simon wrote:

> I don't recall the free Windows VST plug-in "Glitch" being mentioned
> here, so I thought I'd give it a big thumbs up.
> http://illformed.org/blog/glitch/
> It got a nice mention in the latest Virtual Instruments magazine, so I
> downloaded it a couple of days ago. I set up a signal path in Energy
> XT where my straight guitar ran parallel to a signal run through
> glitch and another run through a pitch shifter (1 octave up) and
> another instance of glitch. Glitch sure adds a lot of complexity to a
> sound The first track on my myspace.com page, Feb172008, is a short 3
> 1/2 minute sample. Except for the rhythm (Wave drum, Kalimba, and
> shaker) everything else is one-take and very sparse and sustained
> single "glitched" guitar notes run through the Elottronix looper.
> Great fun, I especially like the "Tape stop" and modulation modules.
> -- 
> Art Simon
> simart@null.net
> http://art.simon.tripod.com
> http://www.myspace.com/artsimon
>

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Date: Tue, 19 Feb 2008 09:51:59 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Glitch VST plug in and looped guitar
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Thanks for trying It should just load up--maybe it's a flash plug in?
You definitely do _not_ have to sign up.

On Feb 19, 2008 7:44 AM, tEd (R) KiLLiAn <tedkillian@charter.net> wrote:
> Hmmmmm...
>
> I went to your Myspace page link and didn't see any "tracks" to listen
> to.
>
> Is this something you have to subscribe in order to get to do?
>
> Unfortunately that's something I don't plan on doing.
>
> Ted


-- 
Art Simon
simart@null.net
http://art.simon.tripod.com
http://www.myspace.com/artsimon

From Loopers-Delight-request@loopers-delight.com  Tue Feb 19 18:12:30 2008
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Subject: RE: Peter Toms Rawks
Date: Tue, 19 Feb 2008 13:12:55 -0500
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I'm going to third this; I bought mine off Peter years ago with the noise
mod and it works great.

__________________________________________
Lyle Crilly
Steinberg/Music Marketing Canada

 

-----Original Message-----
From: info at zoekeating [mailto:info@zoekeating.com] 
Sent: Sunday, February 17, 2008 9:42 PM
To: Loopers-Delight@loopers-delight.com
Subject: Peter Toms Rawks

I'd like to second Rick....

Peter Toms gets my absolute highest recommendation. He fixed one of  
my Repeaters and did the noise mod on both. And he got them back to  
me really quickly so I could get back to work. Hopefully, they won't  
need servicing again, but I have a feeling they will...and when that  
time comes I hope Peter is still willing to fix them!!



__________ NOD32 2886 (20080219) Information __________

This message was checked by NOD32 antivirus system.
http://www.eset.com


From Loopers-Delight-request@loopers-delight.com  Tue Feb 19 19:33:49 2008
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From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Free Jazz Sessions w/ Looping
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Kris,

I enjoyed listening to these yesterday at the office.

I rather like this new "direction" you're taking (if it can be called that)=
.

Do more and make a whole CD's worth.

Cheers,

tEd =C2=AE kiLLiAn

"Different is not always better, but better is always different"

Flux Aeterna: http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?p=
layListId=3D6378076=20

Also check out the BEMF 1 CDs at: http://www.boisemusicians.com/experimenta=
l/cd.htm

http://www.pfmentum.com/flux.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.garageband.com/artist/ArsOcarina
http://www.netmusic.com/web/album.aspx?a_id=3DCBNM_17314
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://www.loopers-delight.com/cgi-bin/profiles.cgi?step=3Dview_profile&id=
=3D121197000042
http://www.guitarplayer.com/story.asp?storyCode=3D18131

Ted Killian's "Flux Aeterna" is also available at: Apple iTunes,
BuyMusic, Rhapsody, MusicMatch, MusicNet, DiscLogic, Napster,
AudioLunchbox, Lindows, QTRnote, Music4Cents, Etherstream,
RuleRadio, EMEPE3, Sony Connect, CatchMusic, Puretracks,
and Viztas. Yadda, yadda, yadda. Blah, blah, blah. So???

---- Krispen Hartung <khartung@cableone.net> wrote:=20
> ...just some free jazz sessions I recorded with a few guys in Boise the o=
ther day (guitar, sax, drums)...the first time we have ever played together=
, in fact. Nothing special with the looping, just the Boss RC-2, my mini el=
ectric guitar, and a Fender Pro Junior. Pretty damn basic and raw.
>=20
> No. 1 -  http://www.box.net/shared/tqo2arvw4g
> No. 2 -  http://www.box.net/shared/rt9xhs80g8
> No. 3 -  http://www.box.net/shared/ue280a9og8
> No. 4 -  http://www.box.net/shared/05c96gykgk
> No. 5 -  http://www.box.net/shared/uw4m30d8gw
>=20
> Kris
>=20
>=20
> Krispen Hartung
> http://www.krispenhartung.com
> http://www.myspace.com/krispenhartung=20
> info@krispenhartung.com

From Loopers-Delight-request@loopers-delight.com  Tue Feb 19 19:43:30 2008
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Subject: Re: Glitch VST plug in and looped guitar
Date: Tue, 19 Feb 2008 19:43:25 -0000
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Yep, i'm a big fan myself...
recorded a snippet using it a while back for my blog...
http://rickygraham.blogspot.com

Ricky
www.rickygraham.net
www.myspace.com/rickygraham
----- Original Message ----- 
From: "Art Simon" <simart@gmail.com>
To: "Loopers-Delight@loopers-delight.com" 
<loopers-delight@loopers-delight.com>
Sent: Tuesday, February 19, 2008 12:49 PM
Subject: Glitch VST plug in and looped guitar


>I don't recall the free Windows VST plug-in "Glitch" being mentioned
> here, so I thought I'd give it a big thumbs up.
> http://illformed.org/blog/glitch/
> It got a nice mention in the latest Virtual Instruments magazine, so I
> downloaded it a couple of days ago. I set up a signal path in Energy
> XT where my straight guitar ran parallel to a signal run through
> glitch and another run through a pitch shifter (1 octave up) and
> another instance of glitch. Glitch sure adds a lot of complexity to a
> sound The first track on my myspace.com page, Feb172008, is a short 3
> 1/2 minute sample. Except for the rhythm (Wave drum, Kalimba, and
> shaker) everything else is one-take and very sparse and sustained
> single "glitched" guitar notes run through the Elottronix looper.
> Great fun, I especially like the "Tape stop" and modulation modules.
> -- 
> Art Simon
> simart@null.net
> http://art.simon.tripod.com
> http://www.myspace.com/artsimon
> 

From Loopers-Delight-request@loopers-delight.com  Tue Feb 19 20:44:57 2008
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Hello,=20

I=B4m sorry, but ebay deleted my auction, because I wrote a link to loopers-=
delight. Strange!
I dont wont to make this auction new, ebay is nerving. I can`t log in for =
the communication at the time.

I sell my Echoplex Digital Pro together with footswitch and original manua=
l. The Sytemversion is Loop3.
I buyed the EDP new in 2000. Technik and Optik ist best,=20
its not very ofen used, because I have had three EDPs. This device is only=
 used for a few concerts.=20

I give it away for 700,00.
Please mail me if you want to buy it.

Thanks=20

dh

ps: I have mad some software with max/msp for my compositions with delays-=
effects.
The patch is at my site (newsic.info/cms)


-----Urspr=FCngliche Nachricht-----
Von: Loopers-Delight@loopers-delight.com
Gesendet: 15.02.08 22:02:27
An: Loopers-Delight@loopers-delight.com
Betreff: Oberheim Echoplex with footpanel at ebay=20


Hello,=20

I sell my echoplex incl. footpanel and Manual at ebay starting with 1 Euro=
:

http://cgi.ebay.de/ws/eBayISAPI.dll=3FViewItem&item=3Dxxxx

Hope it will find a good new home :-)

best regards

dh




--=20
Doroth=E9e Hahne
composition

newsic=AE
production & edition
Feuerstiege 6
48624 Sch=F6ppingen
T: +49 2555 929620
F: +49 2555 929621
newsic@web.de
www.newsic.info

From Loopers-Delight-request@loopers-delight.com  Tue Feb 19 22:16:05 2008
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From: "Marc Roche" <govinda56@peak.org>
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Subject: FS: Oberheim Echoplex w/foot pedal $350
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For sale: Oberheim Echoplex Digital Pro.  Loop IV OS, 198sec memory.  $350 
firm

Marc Roche
Walton OR 

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 00:11:32 2008
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From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: Re: Open letter to Peter Toms of Condor Electronics re: the demise of Electrix
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Actually,  I just got this off the web after looking a little bit, Chris.



Chris Sewell wrote about me publishing this information:
"You must have had the secret email or phone number. I never got shit  
from them when I had my repeater."

> contact Peter Toms for Electrix Repairs and Repeater OS upgrade at:
> ptoms@condor-electronics.com
> CONDOR ELECTRONICS  c/o Peter Toms
> 125 N 36th St Seattle, WA United States

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 00:18:17 2008
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From: "Rick Walker" <looppool@cruzio.com>
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Subject: Re: Open letter to Peter Toms of Condor Electronics
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Steven wrote:
"Yes, his name is Peter Toms, not Tom..................yes, his phone number 
is 206 633 5190 (not
included in your wonderful post below"


Doh,   of course I know that. Thanks for correcting me.  It was just a brain 
fart I made with a very gnarly bout of the flu I"ve been having.

Thanks for the phone number and the news about Peter offering the Repeater 
OS upgrade, repair AND the noise mod.
That's great news since Electrix is in the dumper.


From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 00:31:58 2008
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From: Chris Sewell <lunamusic@mac.com>
Subject: Re: Open letter to Peter Toms of Condor Electronics re: the demise of Electrix
Date: Tue, 19 Feb 2008 19:31:51 -0500
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So it wasn't tech support? Of course you had to go to a 3rd party.
On Feb 19, 2008, at 7:11 PM, Rick Walker wrote:

> Actually,  I just got this off the web after looking a little bit,  
> Chris.
>
>
>
> Chris Sewell wrote about me publishing this information:
> "You must have had the secret email or phone number. I never got  
> shit  from them when I had my repeater."
>
>> contact Peter Toms for Electrix Repairs and Repeater OS upgrade at:
>> ptoms@condor-electronics.com
>> CONDOR ELECTRONICS  c/o Peter Toms
>> 125 N 36th St Seattle, WA United States
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 00:38:58 2008
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From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Subject: revised OPEN LETTER TO PETER TOMS OF CONDOR ELECTRONICS for his service to our community
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for the archives,  I wanted to resubmit this letter to Peter Toms of
Condor Electronics with corrections and full contact information in place.
If you are reading this in the archives know that Peter has noise 
modification
upgrades available for the Electrix Repeater, as well as OS 2.0 
installations available
for that unit.    He also owns all the parts stock for the Repeaters for 
repair purposes after
Electrix was forced to go out of business.    Long live the REPEATER!.

sincerely, Rick Walker



OPEN LETTER TO PETER TOMS of CONDOR ELECTRONICS (Repeater Repair)

Dear Peter,

After hearing of the official demise of the Electrix company,
I wanted to thank you on behalf of all of the community at loopers delight
and in the larger international live looping movement for having been such
a strong support of the Electrix Repeater users throughout
the long and sometimes frustrating vicissitudes of Electrix's history over
the years.

You've always been a friendly and helpful font of information (and repair)
and a great support to Repeater users everywhere and
I am greatly relieved to hear that you now have the stock of replacement
parts (and the most recent software upgrade for the hardware Repeater)
and are committed to supporting this wonderful and innovative instrument.

All the best to you,  and as a service to our community (and those Repeater
users, like myself, who are not on the Repeater Users group at Yahoo.com)
I'm including the address and contact information for Condor, Electronics so
that everyone knows how to reach you if they have future problems with
their Repeaters.

Thanks again for your attitude and your service to our community.
If you are a looper yourself,   LOOP ON and please accept my invitation to
come perform at the Y2K8 International Live Looping Festival as a
musician or, lol,  to do onsight repair of failing Repeaters <wink>

     If you are not,    LOOP ON , ANYWAY!

yours,   sincerely and appreciatively , Rick Walker

founder of the Y2K series of Live Looping Festivals
www.y2kloopfest.com
moderator LiveLoopers tribe at Tribe.net
Repeater owner and lover


***********
contact Peter Toms for Electrix Repairs and Repeater OS upgrade at:

ptoms@condor-electronics.com

telephone number:   206 633 5190

CONDOR ELECTRONICS
c/o Peter Toms
125 N 36th St Seattle,
WA United States 

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 00:49:30 2008
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To: Loopers-Delight@loopers-delight.com
From: info at zoekeating <info@zoekeating.com>
Subject: gaspedal midi foot controller
Date: Tue, 19 Feb 2008 16:49:19 -0800
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I am in love with the photograph of this midi foot controller. So
streamlined and black and without those pedals that I wish I could
saw off the FCB1010...

Has anyone come across or used one? Looks like a custom-ordered jobby

http://www.guitar-systems.com/gaspedal.html

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 01:14:32 2008
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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: gaspedal midi foot controller
Date: Tue, 19 Feb 2008 17:14:27 -0800
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On Feb 19, 2008, at 4:49 PM, info at zoekeating wrote:

> Looks like a custom-ordered jobby
>
> http://www.guitar-systems.com/gaspedal.html


Sleek and sturdy looking.
There is an info email contact  link, worth chatting them up maybe.

This midi controller has a pedal, but also seems to have interesting  
potential:

http://tinyurl.com/yvxhuc

when it gets released.
:-)

regards

BobC






http://tinyurl.com/yt8f8j

http://www.youtube.com/tynego

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 01:54:00 2008
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Subject: Re: gaspedal midi foot controller
Date: Tue, 19 Feb 2008 20:53:55 -0500
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Oh my, that looks lovely. It might be a bit tight for my big ass feet,  
but with the right shoes, maybe. Its so interesting that the FCB for  
all its flaws, seems to be the benchmark controller. Why Berhinger  
hasn't tried to improve on its design is a mystery. Still, 10 buttons  
with 2 pedals for about $120 bucks is hard to beat.



On Feb 19, 2008, at 7:49 PM, info at zoekeating wrote:

> I am in love with the photograph of this midi foot controller. So
> streamlined and black and without those pedals that I wish I could
> saw off the FCB1010...
>
> Has anyone come across or used one? Looks like a custom-ordered jobby
>
> http://www.guitar-systems.com/gaspedal.html
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 01:58:01 2008
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From: info at zoekeating <info@zoekeating.com>
Subject: Re: gaspedal midi foot controller
Date: Tue, 19 Feb 2008 17:58:01 -0800
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dainty little ballet slippers might be just the thing...

i've written to them and i'll report back.


On Feb 19, 2008, at 5:53 PM, Chris Sewell wrote:

> Oh my, that looks lovely. It might be a bit tight for my big ass  
> feet, but with the right shoes, maybe. Its so interesting that the  
> FCB for all its flaws, seems to be the benchmark controller. Why  
> Berhinger hasn't tried to improve on its design is a mystery.  
> Still, 10 buttons with 2 pedals for about $120 bucks is hard to beat.
>
>
>
> On Feb 19, 2008, at 7:49 PM, info at zoekeating wrote:
>
>> I am in love with the photograph of this midi foot controller. So
>> streamlined and black and without those pedals that I wish I could
>> saw off the FCB1010...
>>
>> Has anyone come across or used one? Looks like a custom-ordered jobby
>>
>> http://www.guitar-systems.com/gaspedal.html
>>
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 08:29:25 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: OT    thanks Art Simon!!!!!
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Rick Walker schrieb:
> Wow,  Art,
> I just finished a couple of hours perusing that site and all the amazing 
> other sites that do similar things that it is linked to.

Yes, thanks a lot Art,
I will never finish at it seems, holded me off the list for some time... ;-)

I am kind of recollecting stuff I had on old Shamrock tapes. But I can't 
play them anymore, they just dissolve. I had some treasures in there. It 
seems that blogosphere is the place to find that kind of stuff. No 
matter how weird. But its hard to search, as these sites usually are not 
listed by Google.

> I found an amazing Jazz discography site that just allowed me to find a 
> tune I've been looking for for years

I wouldn't mind sharing link lists...

These are some I found interesting, but beware, they open the box of 
pandora...

http://www.toterallee.blogspot.com/
http://nukebass.blogspot.com/
http://krypte.blogspot.com/
http://pharaohs-dance.blogspot.com/
http://my.opera.com/STEFANfromPARIS/blog/
(this is funny, because its not me and in Paris usually they write my 
name with ph instead of f, there must be another Stefan in this small 
town... ;-)

For searching other blogs, this seems usable:

http://totallyfuzzy.blogspot.com/

have fun...

Stefan

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From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 09:50:35 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Film music rights
References: <20080213152044.2F45B3BEFF@arsenic.violacea.com> <BAY129-W292DA2B901A51A9F29E1E7C3240@phx.gbl> <D3B780FC-AE70-49DA-9684-6ECBD4AE9CC8@zoekeating.com>
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info at zoekeating schrieb:
> Given the tiny amount of money I was pretty shocked when the director
> balked and replied  "there are thousands of musicians out there who I
> can get music for free from. Why should I pay for yours?". I said,
> well, you're free NOT to use it then, and walked away.

You did correct so, as he doesn't seemed to be interested in your music 
and would replace it with anything. That is not the kind of feedback a 
serious musician is interested in, it probably corresponds to the 
quality of his arb (read arbitrary, or "not art"... ;-). Art is about 
making decisions... "we're only in it for the money..."...

I would always ask roughly for the same hourly rate as the whole project 
is earning. It might be little in the end, but it would be fair. Its 
simply a question of respect. For a given project everybody contributing 
has an importance directly proportional to the amount of work put in. To 
nothing else...
(supporting a project with money is also time spent to collect this 
money...)
But this is what Marx told us already more than 150 years ago... ;-)
In the end its our own responsibility to insist on this respect...

Stefan

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From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 09:59:05 2008
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Date: Wed, 20 Feb 2008 11:02:32 +0100
From: van Sinn <vansinn@post.cybercity.dk>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: gaspedal midi foot controller
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info at zoekeating wrote:
> I am in love with the photograph of this midi foot controller. So
> streamlined and black and without those pedals that I wish I could
> saw off the FCB1010...

You could simply chop off on or both of the FCB pedals. You'll drop the 
build-in PSU, but who cares.. most all convert it to phantom power..

> Has anyone come across or used one? Looks like a custom-ordered jobby
> 
> http://www.guitar-systems.com/gaspedal.html

Kinda nice'n'compact.  Personally, I tend to not like things arranged in 
a strict matrix as such kinda tends to confuse my weird brain.

-- 
rgds,
van Sinn

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 10:41:56 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: film music rights,icensing etc.(OT).
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L.A. Angulo schrieb:
> Last but not least all of my songwritting is
> registered with the GEMA here in germany which is like
> ASCAP or BMI.

If you give the permission to use it from your production/label side of 
view, this will still make them pay royalties to the Gema. The Gema 
won't let you give it away for free anyway. You will get Gema royalties 
even if they don't pay anything more for each festival they show it...
That's why the credits are essential. The Gema will only know by the 
credits that you composed the music...

If the musicians are in the GVL for example their rights are covered by 
that as well. (I don't know the US equivalent for the GVL, but they are 
the Gema for performers)

And in general there is a difference between "tight budget" and 
"expected profit" They will always talk about a tight budget, which 
might be completely true. But that would only be an argument for the 
date when they might be able to pay a fair share of the real profit, 
whatever that might be. That has to be discussed. If there is not will 
to share they shouldn't expect you to share. That's very easy to 
explain, and also hard for a human to reject that logic...

Stefan

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From member@ebay.it  Wed Feb 20 10:49:33 2008
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From: "Utente di  eBay :joletaxi1973" <member@ebay.it>
Subject: Hai ricevuto una domanda sull'oggetto #250213608028
Date: Wed, 20 Feb 2008 05:21:41 -0500
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<TD vAlign=bottom align=left><SPAN style="FONT-WEIGHT: bold; FONT-SIZE: xx-small; COLOR: #666; FONT-FAMILY: verdana, sans-serif"><B>eBay ha inviato questo messaggio .</B><BR></SPAN><SPAN style="FONT-SIZE: xx-small; COLOR: #666; FONT-FAMILY: verdana, sans-serif">Il tuo nome è stato indicato in modo da garantire l'autenticità del messaggio. <A href="http://pages.ebay.it/help/confidence/name-userid-emails.html" target=_blank>Ulteriori informazioni</A></SPAN></TD></TR></TBODY></TABLE>
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<TD><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><STRONG>Gentile utente,</STRONG><BR>se accetti post pay che è piu' immediato..senno' fammi sapere cosa&nbsp; vuoi te lo compro <BR>attendo istruzioni precise grazie Mascolo Pier<BR><BR>
<DIV style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">- joletaxi1973</DIV></FONT></TD>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top width="15%">Numero oggetto:</TD>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top width="15%">URL dell'oggetto:</TD>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top width="15%">Fine:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>20-Feb-08 08:55:08 CET</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>Dall'utente:</TD>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><A href="http://myworld.ebay.it/joletaxi1973?&amp;ssPageName=ADME:X:AAQ:IT:1181" target=_blank>joletaxi1973</A> (<A href="http://feedback.ebay.it/ws/eBayISAPI.dll?ViewFeedback&amp;&amp;userid=joletaxi1973&amp;ssPageName=ADME:X:AAQ:IT:1183" target=_blank>19</A><IMG height=25 src="http://pics.ebaystatic.com/aw/pics/it/icon/iconYellowStar_25x25.gif" width=25 align=absMiddle>)</FONT></TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">100.0% Feedback positivi</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Utente dal 16-Mag-07 in Italia</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Luogo : BL, Italia</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Attività con joletaxi1973 (ultimi 90 giorni):joletaxi1973 ha fatto delle offerte su <B>0</B> dei miei oggetti.</FONT></TD></TR></TBODY></TABLE></TD></TR>
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<TD colSpan=2><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Questo messaggio è stato inviato mentre l'inserzione era <STRONG>in corso.</STRONG>joletaxi1973 è un <B>potenziale acquirente</B>.</FONT></TD></TR></TBODY></TABLE><BR></DIV></DIV>
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<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" width="20%">Suggerimenti sulla sicurezza</TD>
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From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 12:31:09 2008
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Date: Wed, 20 Feb 2008 06:31:07 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: gaspedal midi foot controller
References: <6AA624F7-95B0-43A4-8C6F-9E64F2D71332@zoekeating.com>
	<FCC4A284-AA86-4868-8CB6-5481F4BBD40F@mac.com>
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Quoting info at zoekeating <info@zoekeating.com>:
>
> dainty little ballet slippers might be just the thing...
>
Well, OK.  But I don't wanna wear tights!

:)

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 14:02:04 2008
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Date: Wed, 20 Feb 2008 05:55:13 -0800 (PST)
From: murkie <sinister_footwear@yahoo.com>
Subject: Re: gaspedal midi foot controller
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I wonder why nobody bothers with alphanumeric
displays?!  The main reason I stick with my Ground
Control is the display of the preset's name.  Although
on the "development" page on the gaspedal site there's
a photo of the pedal next to a small alphanumeric
display that appears to be a separate piece of gear.

Which makes me wonder why no one has designed a small
programable display that can be programed to display
words depending on the midi preset.

m.

TwistedAppleRecords.com

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 15:38:52 2008
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Date: Wed, 20 Feb 2008 07:38:50 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: film music rights,icensing etc.(OT).
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Stefan very true thanx!
Luis


--- Stefan Tiedje <Stefan-Tiedje@addcom.de> wrote:

> L.A. Angulo schrieb:
> > Last but not least all of my songwritting is
> > registered with the GEMA here in germany which is
> like
> > ASCAP or BMI.
> 
> If you give the permission to use it from your
> production/label side of 
> view, this will still make them pay royalties to the
> Gema. The Gema 
> won't let you give it away for free anyway. You will
> get Gema royalties 
> even if they don't pay anything more for each
> festival they show it...
> That's why the credits are essential. The Gema will
> only know by the 
> credits that you composed the music...
> 
> If the musicians are in the GVL for example their
> rights are covered by 
> that as well. (I don't know the US equivalent for
> the GVL, but they are 
> the Gema for performers)
> 
> And in general there is a difference between "tight
> budget" and 
> "expected profit" They will always talk about a
> tight budget, which 
> might be completely true. But that would only be an
> argument for the 
> date when they might be able to pay a fair share of
> the real profit, 
> whatever that might be. That has to be discussed. If
> there is not will 
> to share they shouldn't expect you to share. That's
> very easy to 
> explain, and also hard for a human to reject that
> logic...
> 
> Stefan
> 
> -- 
> Stefan Tiedje------------x-------
> --_____-----------|--------------
> --(_|_ ----|\-----|-----()-------
> -- _|_)----|-----()--------------
> ----------()--------www.ccmix.com
> 
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile.  Try it now.  http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ 

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 15:57:24 2008
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Date: Wed, 20 Feb 2008 06:52:30 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: gaspedal midi foot controller
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------=_Part_566_10923970.1203519150398
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A standalone box to display text?  The demand for such an item is extremely
tiny.

For the sort of MIDI control that loopers require, I wish there was a MIDI
controller with a small alphanumeric LCD panel above each button.  I can't
imagine such a think costing less than a thousand dollars, given the amount
of hardware required and the small market (a few hundred at most).

TH


On Wed, Feb 20, 2008 at 5:55 AM, murkie <sinister_footwear@yahoo.com> wrote:

>
>
> Which makes me wonder why no one has designed a small
> programable display that can be programed to display
> words depending on the midi preset.
>
>
>
>

------=_Part_566_10923970.1203519150398
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A standalone box to display text?&nbsp; The demand for such an item is extremely tiny.&nbsp; <br><br>For the sort of MIDI control that loopers require, I wish there was a MIDI controller with a small alphanumeric LCD panel above each button.&nbsp; I can&#39;t imagine such a think costing less than a thousand dollars, given the amount of hardware required and the small market (a few hundred at most).<br>
<br>TH<br><br><br><div class="gmail_quote">On Wed, Feb 20, 2008 at 5:55 AM, murkie &lt;<a href="mailto:sinister_footwear@yahoo.com">sinister_footwear@yahoo.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
<br>
Which makes me wonder why no one has designed a small<br>
programable display that can be programed to display<br>
words depending on the midi preset.<br>
<br><br>
<br>
</blockquote></div><br>

------=_Part_566_10923970.1203519150398--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 16:27:04 2008
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Date: Wed, 20 Feb 2008 07:55:06 -0800
To: Loopers-Delight@loopers-delight.com
From: Sean Echevarria <sean.loop@creepingfog.com>
Subject: Re: gaspedal midi foot controller
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Yeah, the connections list on the main page states that there is an 
expander out for one external display.

http://www.guitar-systems.com/gaspedal.html


At 2008.02.20 05:55 AM, murkie wrote:
>I wonder why nobody bothers with alphanumeric
>displays?!  The main reason I stick with my Ground
>Control is the display of the preset's name.  Although
>on the "development" page on the gaspedal site there's
>a photo of the pedal next to a small alphanumeric
>display that appears to be a separate piece of gear.

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 16:29:41 2008
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Date: Wed, 20 Feb 2008 08:29:13 -0800
To: Loopers-Delight@loopers-delight.com
From: Sean Echevarria <sean.loop@creepingfog.com>
Subject: Re: gaspedal midi foot controller
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The ability to do that with hardware was out of my grasp, so I went 
with a hybrid hardware/software approach.  My laptop displays the 
labels for each button of my foot controller:
http://www.creepingfog.com/mTroll/

It's a DIY project that requires a PC though...


At 2008.02.20 06:52 AM, Travis Hartnett wrote:
>For the sort of MIDI control that loopers require, I wish there was 
>a MIDI controller with a small alphanumeric LCD panel above each 
>button.  I can't imagine such a think costing less than a thousand 
>dollars, given the amount of hardware required and the small market 
>(a few hundred at most).
>
>TH
>
>
>On Wed, Feb 20, 2008 at 5:55 AM, murkie 
><<mailto:sinister_footwear@yahoo.com>sinister_footwear@yahoo.com> wrote:
>
>
>Which makes me wonder why no one has designed a small
>programable display that can be programed to display
>words depending on the midi preset.
>
>
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 16:42:06 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: gaspedal midi foot controller
References: <135018.38115.qm@web54006.mail.re2.yahoo.com>
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murkie wrote:
> I wonder why nobody bothers with alphanumeric displays?!..

http://www.gordius.be does..

-- 
rgds,
van Sinn

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 17:17:00 2008
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Subject: RE: gaspedal midi foot controller
Date: Wed, 20 Feb 2008 09:16:25 -0800
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Thread-Topic: gaspedal midi foot controller
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From: "Andy Owens" <andy@1800pathways.com>
To: <Loopers-Delight@loopers-delight.com>
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Since we are three people playing multiple acoustic and digital
instruments, I want three looperlatives which are sync'd and each with a
foot control that is easy to get in and out of loops on the fly.=20

We will be making songs that are more like what a 5 or 6 piece band
would do, and shorter song lengths than I think some looping performers
would do, more like three or four minute songs, just maximizing the fact
that between the three of us we play about 30 instruments, and have them
ready to go on stage.=20

So I like the look of the GasPedal, because I could (I hope, I
assume...what I am asking the group's advice on here....) have each set
of four buttons, top to bottom, set for five tracks of the LP1, so that
the bottom one could be record, the second one for stop/play, the third
up one could be erase, and if Bob adds a traditional undo function
someday, then the top one could be undo.=20

That would seem to be a real simple and easy "on the fly" way of
handling this, don't you think? I can't imagine any one of us needing
more than five tracks.....and I like the fact that using pan and a
little pre planning, I can send five outs from the LP1 real easy, to the
board, so the soundman/engineer has some control over the loops too.

Another question for you geniuses, if I just wanted to use one LP1, and
have three people using it, say one guy has two tracks, another guy has
two tracks, another guy has four tracks, could you just have everyone
use an individual foot midi control and just assign the buttons to just
control individual tracks?, or maybe the three of us share two LP1's the
same way....anyone know if that would work? Yikes, I guess the fact that
the LP1 has only two inputs might mess that up.....but you could sum the
inputs pretty easy too.......

Thanks, Andy



-----Original Message-----
From: van Sinn [mailto:vansinn@post.cybercity.dk]=20
Sent: Wednesday, February 20, 2008 11:46 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: gaspedal midi foot controller

murkie wrote:
> I wonder why nobody bothers with alphanumeric displays?!..

http://www.gordius.be does..

--=20
rgds,
van Sinn

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 17:29:20 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Re: gas pedal midi foot controller
Date: Wed, 20 Feb 2008 09:29:21 -0800
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Hey that gas pedal does look pretty cool, the lay out looks a bit awkward,
though,  with several narrowly spaced rows of buttons. I'd be worried I
would continually false trigger presets., by inadvertently stepping on front
row switches while reaching for a switch on the back row. Looks a bit like a
Digital Music Corp Ground Control Pro, only cuter. I bet you could control a
Fucking Fucker amp with one of those!  Actually though it took me a while to
figure out how to program (not nearly as long as my first attempts to
decipher the FCB1010) I really love the Gordius little Giant.  Its more
compact and more ruggedly built than the FCB1010, and you can use any make
of expression pedal to go with it.  At first a had to justify the expense as
it is pricey, but it is really well built and the switches or very smooth
and the architecture is as deep as the ocean. I look at it this way, why
trust the operation of several thousand dollars worth of audio, computer,
and looping gear to a$135 pedal that you cannot get parts for? I'm on my
fourth behringer FCB1010 in the last 10+years, add them all up and I spent
more combined than on the one Gordius little Giant I recently bought. Not
only that, ,  Xavier, the guy who builds them,  actually listens to feedback
from clients. Andy Butler alerted him to the fact that the Gordius was
producing more latency than Andy's dedicated EDP pedal, so Xavier got busy
and reduced the latency specs dramatically. Try asking Behringer or Yamaha
for that matter to improve their midi latency. I'd be curious to see how
much the Gas pedal costs, it sure looks expensive, but more and more I
believe you can't really drink champagne on a beer budget


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Hey that gas pedal does look pretty cool, the lay out =
looks
a bit awkward, though, &nbsp;with several narrowly spaced rows of =
buttons. I&#8217;d
be worried I would continually false trigger presets., by inadvertently =
stepping
on front row switches while reaching for a switch on the back row. Looks =
a bit
like a Digital Music Corp Ground Control Pro, only cuter. I bet you =
could
control a Fucking Fucker amp with one of those! &nbsp;Actually though it =
took me a
while to figure out how to program (not nearly as long as my first =
attempts to
decipher the FCB1010) I really love the Gordius little Giant. &nbsp;Its =
more compact
and more ruggedly built than the FCB1010, and you can use any make of
expression pedal to go with it. &nbsp;At first a had to justify the =
expense as it is
pricey, but it is really well built and the switches or very smooth and =
the architecture
is as deep as the ocean. I look at it this way, why trust the operation =
of
several thousand dollars worth of audio, computer, and looping gear to =
a$135
pedal that you cannot get parts for? I&#8217;m on my fourth behringer =
FCB1010
in the last 10+years, add them all up and I spent more combined than on =
the one
Gordius little Giant I recently bought. Not only that, ,&nbsp; Xavier, =
the guy who
builds them, &nbsp;actually listens to feedback from clients. Andy =
Butler alerted him
to the fact that the Gordius was producing more latency than =
Andy&#8217;s
dedicated EDP pedal, so Xavier got busy and reduced the latency specs
dramatically. Try asking Behringer or Yamaha for that matter to improve =
their
midi latency. I&#8217;d be curious to see how much the Gas pedal costs, =
it sure
looks expensive, but more and more I believe you can&#8217;t really =
drink
champagne on a beer budget<o:p></o:p></span></font></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 17:53:13 2008
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Subject: RE: gas pedal midi foot controller
Date: Wed, 20 Feb 2008 09:52:38 -0800
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From: "Andy Owens" <andy@1800pathways.com>
To: <Loopers-Delight@loopers-delight.com>
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Hey check this out....

=20

http://guitar-systems.com/wordpress/wp-content/uploads/2008/01/IMG_1655.
jpg

=20

Pretty cool, I have asked could they build it into a bigger box so less
chance of hitting the wrong switch, this kind of answers that question
in a way...

=20

Andy

=20

=20

________________________________

From: William Walker [mailto:billwalker@baymoon.com]=20
Sent: Wednesday, February 20, 2008 12:29 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: gas pedal midi foot controller

=20

Hey that gas pedal does look pretty cool, the lay out looks a bit
awkward, though,  with several narrowly spaced rows of buttons. I'd be
worried I would continually false trigger presets., by inadvertently
stepping on front row switches while reaching for a switch on the back
row. Looks a bit like a Digital Music Corp Ground Control Pro, only
cuter. I bet you could control a Fucking Fucker amp with one of those!
Actually though it took me a while to figure out how to program (not
nearly as long as my first attempts to decipher the FCB1010) I really
love the Gordius little Giant.  Its more compact and more ruggedly built
than the FCB1010, and you can use any make of expression pedal to go
with it.  At first a had to justify the expense as it is pricey, but it
is really well built and the switches or very smooth and the
architecture is as deep as the ocean. I look at it this way, why trust
the operation of several thousand dollars worth of audio, computer, and
looping gear to a$135 pedal that you cannot get parts for? I'm on my
fourth behringer FCB1010 in the last 10+years, add them all up and I
spent more combined than on the one Gordius little Giant I recently
bought. Not only that, ,  Xavier, the guy who builds them,  actually
listens to feedback from clients. Andy Butler alerted him to the fact
that the Gordius was producing more latency than Andy's dedicated EDP
pedal, so Xavier got busy and reduced the latency specs dramatically.
Try asking Behringer or Yamaha for that matter to improve their midi
latency. I'd be curious to see how much the Gas pedal costs, it sure
looks expensive, but more and more I believe you can't really drink
champagne on a beer budget


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Hey check this =
out&#8230;.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><a
href=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2008/01/IM=
G_1655.jpg"
title=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2008/01/I=
MG_1655.jpg">http://guitar-systems.com/wordpress/wp-content/uploads/2008/=
01/IMG_1655.jpg</a><o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Pretty cool, I have asked could =
they build
it into a bigger box so less chance of hitting the wrong switch, this =
kind of
answers that question in a way&#8230;<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Andy<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<div>

<div class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><font =
size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D2 width=3D"100%" align=3Dcenter tabindex=3D-1>

</span></font></div>

<p class=3DMsoNormal><b><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font =
size=3D2
face=3DTahoma><span style=3D'font-size:10.0pt;font-family:Tahoma'> =
William Walker
[mailto:billwalker@baymoon.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Wednesday, February =
20, 2008
12:29 PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: gas pedal =
midi foot
controller</span></font><o:p></o:p></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Hey that gas pedal does look pretty cool, the lay out =
looks
a bit awkward, though, &nbsp;with several narrowly spaced rows of =
buttons.
I&#8217;d be worried I would continually false trigger presets., by
inadvertently stepping on front row switches while reaching for a switch =
on the
back row. Looks a bit like a Digital Music Corp Ground Control Pro, only =
cuter.
I bet you could control a Fucking Fucker amp with one of those! =
&nbsp;Actually
though it took me a while to figure out how to program (not nearly as =
long as my
first attempts to decipher the FCB1010) I really love the Gordius little =
Giant.
&nbsp;Its more compact and more ruggedly built than the FCB1010, and you =
can
use any make of expression pedal to go with it. &nbsp;At first a had to =
justify
the expense as it is pricey, but it is really well built and the =
switches or
very smooth and the architecture is as deep as the ocean. I look at it =
this
way, why trust the operation of several thousand dollars worth of audio,
computer, and looping gear to a$135 pedal that you cannot get parts for?
I&#8217;m on my fourth behringer FCB1010 in the last 10+years, add them =
all up
and I spent more combined than on the one Gordius little Giant I =
recently
bought. Not only that, ,&nbsp; Xavier, the guy who builds them, =
&nbsp;actually
listens to feedback from clients. Andy Butler alerted him to the fact =
that the
Gordius was producing more latency than Andy&#8217;s dedicated EDP =
pedal, so
Xavier got busy and reduced the latency specs dramatically. Try asking
Behringer or Yamaha for that matter to improve their midi latency. =
I&#8217;d be
curious to see how much the Gas pedal costs, it sure looks expensive, =
but more
and more I believe you can&#8217;t really drink champagne on a beer =
budget<o:p></o:p></span></font></p>

</div>

</body>

</html>

------_=_NextPart_001_01C873E9.7541EE2F--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 17:53:40 2008
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Subject: RE: gas pedal midi foot controller
Date: Wed, 20 Feb 2008 09:53:06 -0800
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Thread-Topic: gas pedal midi foot controller
Thread-Index: Achz5iEHLeL8QtKWQwWxiiyqAUrGAAAA0yew
From: "Andy Owens" <andy@1800pathways.com>
To: <Loopers-Delight@loopers-delight.com>
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You know, this thing must be bigger than it looks on their website, here
is a pic from the log, looks much larger....

=20

http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/first_ser
ies_3.jpg

=20

Andy

=20

=20

________________________________

From: William Walker [mailto:billwalker@baymoon.com]=20
Sent: Wednesday, February 20, 2008 12:29 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: gas pedal midi foot controller

=20

Hey that gas pedal does look pretty cool, the lay out looks a bit
awkward, though,  with several narrowly spaced rows of buttons. I'd be
worried I would continually false trigger presets., by inadvertently
stepping on front row switches while reaching for a switch on the back
row. Looks a bit like a Digital Music Corp Ground Control Pro, only
cuter. I bet you could control a Fucking Fucker amp with one of those!
Actually though it took me a while to figure out how to program (not
nearly as long as my first attempts to decipher the FCB1010) I really
love the Gordius little Giant.  Its more compact and more ruggedly built
than the FCB1010, and you can use any make of expression pedal to go
with it.  At first a had to justify the expense as it is pricey, but it
is really well built and the switches or very smooth and the
architecture is as deep as the ocean. I look at it this way, why trust
the operation of several thousand dollars worth of audio, computer, and
looping gear to a$135 pedal that you cannot get parts for? I'm on my
fourth behringer FCB1010 in the last 10+years, add them all up and I
spent more combined than on the one Gordius little Giant I recently
bought. Not only that, ,  Xavier, the guy who builds them,  actually
listens to feedback from clients. Andy Butler alerted him to the fact
that the Gordius was producing more latency than Andy's dedicated EDP
pedal, so Xavier got busy and reduced the latency specs dramatically.
Try asking Behringer or Yamaha for that matter to improve their midi
latency. I'd be curious to see how much the Gas pedal costs, it sure
looks expensive, but more and more I believe you can't really drink
champagne on a beer budget


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>You know, this thing must be bigger =
than
it looks on their website, here is a pic from the log, looks much
larger&#8230;.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><a
href=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/fi=
rst_series_3.jpg"
title=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/f=
irst_series_3.jpg">http://guitar-systems.com/wordpress/wp-content/uploads=
/2007/09/first_series_3.jpg</a><o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Andy<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<div>

<div class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><font =
size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D2 width=3D"100%" align=3Dcenter tabindex=3D-1>

</span></font></div>

<p class=3DMsoNormal><b><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font =
size=3D2
face=3DTahoma><span style=3D'font-size:10.0pt;font-family:Tahoma'> =
William Walker
[mailto:billwalker@baymoon.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Wednesday, February =
20, 2008
12:29 PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: gas pedal =
midi foot
controller</span></font><o:p></o:p></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Hey that gas pedal does look pretty cool, the lay out =
looks
a bit awkward, though, &nbsp;with several narrowly spaced rows of =
buttons.
I&#8217;d be worried I would continually false trigger presets., by
inadvertently stepping on front row switches while reaching for a switch =
on the
back row. Looks a bit like a Digital Music Corp Ground Control Pro, only =
cuter.
I bet you could control a Fucking Fucker amp with one of those! =
&nbsp;Actually
though it took me a while to figure out how to program (not nearly as =
long as
my first attempts to decipher the FCB1010) I really love the Gordius =
little
Giant. &nbsp;Its more compact and more ruggedly built than the FCB1010, =
and you
can use any make of expression pedal to go with it. &nbsp;At first a had =
to
justify the expense as it is pricey, but it is really well built and the
switches or very smooth and the architecture is as deep as the ocean. I =
look at
it this way, why trust the operation of several thousand dollars worth =
of
audio, computer, and looping gear to a$135 pedal that you cannot get =
parts for?
I&#8217;m on my fourth behringer FCB1010 in the last 10+years, add them =
all up
and I spent more combined than on the one Gordius little Giant I =
recently
bought. Not only that, ,&nbsp; Xavier, the guy who builds them, =
&nbsp;actually
listens to feedback from clients. Andy Butler alerted him to the fact =
that the
Gordius was producing more latency than Andy&#8217;s dedicated EDP =
pedal, so
Xavier got busy and reduced the latency specs dramatically. Try asking
Behringer or Yamaha for that matter to improve their midi latency. =
I&#8217;d be
curious to see how much the Gas pedal costs, it sure looks expensive, =
but more
and more I believe you can&#8217;t really drink champagne on a beer =
budget<o:p></o:p></span></font></p>

</div>

</body>

</html>

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From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 17:57:03 2008
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Subject: RE: gas pedal midi foot controller
Date: Wed, 20 Feb 2008 09:56:29 -0800
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Thread-Topic: gas pedal midi foot controller
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From: "Andy Owens" <andy@1800pathways.com>
To: <Loopers-Delight@loopers-delight.com>
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Not to be overly overzealous here guys, but couldn't you use those
expanders hooked to one GasPedal and give multiple people control over
separate tracks of an LP1? Of course audio in issues aside....

=20

Andy

=20

________________________________

From: Andy Owens [mailto:andy@1800pathways.com]=20
Sent: Wednesday, February 20, 2008 12:53 PM
To: Loopers-Delight@loopers-delight.com
Subject: RE: gas pedal midi foot controller

=20

Hey check this out....

=20

http://guitar-systems.com/wordpress/wp-content/uploads/2008/01/IMG_1655.
jpg

=20

Pretty cool, I have asked could they build it into a bigger box so less
chance of hitting the wrong switch, this kind of answers that question
in a way...

=20

Andy

=20

=20

________________________________

From: William Walker [mailto:billwalker@baymoon.com]=20
Sent: Wednesday, February 20, 2008 12:29 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: gas pedal midi foot controller

=20

Hey that gas pedal does look pretty cool, the lay out looks a bit
awkward, though,  with several narrowly spaced rows of buttons. I'd be
worried I would continually false trigger presets., by inadvertently
stepping on front row switches while reaching for a switch on the back
row. Looks a bit like a Digital Music Corp Ground Control Pro, only
cuter. I bet you could control a Fucking Fucker amp with one of those!
Actually though it took me a while to figure out how to program (not
nearly as long as my first attempts to decipher the FCB1010) I really
love the Gordius little Giant.  Its more compact and more ruggedly built
than the FCB1010, and you can use any make of expression pedal to go
with it.  At first a had to justify the expense as it is pricey, but it
is really well built and the switches or very smooth and the
architecture is as deep as the ocean. I look at it this way, why trust
the operation of several thousand dollars worth of audio, computer, and
looping gear to a$135 pedal that you cannot get parts for? I'm on my
fourth behringer FCB1010 in the last 10+years, add them all up and I
spent more combined than on the one Gordius little Giant I recently
bought. Not only that, ,  Xavier, the guy who builds them,  actually
listens to feedback from clients. Andy Butler alerted him to the fact
that the Gordius was producing more latency than Andy's dedicated EDP
pedal, so Xavier got busy and reduced the latency specs dramatically.
Try asking Behringer or Yamaha for that matter to improve their midi
latency. I'd be curious to see how much the Gas pedal costs, it sure
looks expensive, but more and more I believe you can't really drink
champagne on a beer budget


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<div class=3DSection1>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Not to be overly overzealous here =
guys,
but couldn&#8217;t you use those expanders hooked to one GasPedal and =
give
multiple people control over separate tracks of an LP1? Of course audio =
in
issues aside&#8230;.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Andy<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<div>

<div class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><font =
size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D2 width=3D"100%" align=3Dcenter tabindex=3D-1>

</span></font></div>

<p class=3DMsoNormal><b><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font =
size=3D2
face=3DTahoma><span style=3D'font-size:10.0pt;font-family:Tahoma'> =
<st1:PersonName
w:st=3D"on">Andy Owens</st1:PersonName> [mailto:andy@1800pathways.com] =
<br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Wednesday, February =
20, 2008
12:53 PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> RE: gas pedal =
midi foot
controller</span></font><o:p></o:p></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Hey check this =
out&#8230;.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><a
href=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2008/01/IM=
G_1655.jpg"
title=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2008/01/I=
MG_1655.jpg">http://guitar-systems.com/wordpress/wp-content/uploads/2008/=
01/IMG_1655.jpg</a><o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Pretty cool, I have asked could =
they build
it into a bigger box so less chance of hitting the wrong switch, this =
kind of
answers that question in a way&#8230;<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Andy<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<div>

<div class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><font =
size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D2 width=3D"100%" align=3Dcenter tabindex=3D-1>

</span></font></div>

<p class=3DMsoNormal><b><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font =
size=3D2
face=3DTahoma><span style=3D'font-size:10.0pt;font-family:Tahoma'> =
William Walker
[mailto:billwalker@baymoon.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Wednesday, February =
20, 2008
12:29 PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> =
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: gas pedal =
midi foot
controller</span></font><o:p></o:p></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Hey that gas pedal does look pretty cool, the lay out =
looks
a bit awkward, though, &nbsp;with several narrowly spaced rows of =
buttons.
I&#8217;d be worried I would continually false trigger presets., by
inadvertently stepping on front row switches while reaching for a switch =
on the
back row. Looks a bit like a Digital Music Corp Ground Control Pro, only =
cuter.
I bet you could control a Fucking Fucker amp with one of those! =
&nbsp;Actually
though it took me a while to figure out how to program (not nearly as =
long as
my first attempts to decipher the FCB1010) I really love the Gordius =
little
Giant. &nbsp;Its more compact and more ruggedly built than the FCB1010, =
and you
can use any make of expression pedal to go with it. &nbsp;At first a had =
to
justify the expense as it is pricey, but it is really well built and the
switches or very smooth and the architecture is as deep as the ocean. I =
look at
it this way, why trust the operation of several thousand dollars worth =
of
audio, computer, and looping gear to a$135 pedal that you cannot get =
parts for?
I&#8217;m on my fourth behringer FCB1010 in the last 10+years, add them =
all up
and I spent more combined than on the one Gordius little Giant I =
recently
bought. Not only that, ,&nbsp; Xavier, the guy who builds them, =
&nbsp;actually
listens to feedback from clients. Andy Butler alerted him to the fact =
that the
Gordius was producing more latency than Andy&#8217;s dedicated EDP =
pedal, so
Xavier got busy and reduced the latency specs dramatically. Try asking
Behringer or Yamaha for that matter to improve their midi latency. =
I&#8217;d be
curious to see how much the Gas pedal costs, it sure looks expensive, =
but more
and more I believe you can&#8217;t really drink champagne on a beer =
budget<o:p></o:p></span></font></p>

</div>

</body>

</html>

------_=_NextPart_001_01C873E9.FEAF337B--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 18:22:46 2008
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Subject: Re: gas pedal midi foot controller(Gordius LG)
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William Walker wrote:

>  Actually though it took me a while to figure out how to program (not 
> nearly as long as my first attempts to decipher the FCB1010) I really 
> love the Gordius little Giant.  Its more compact and more ruggedly built 

> bought. Not only that, ,  Xavier, the guy who builds them,  actually 
> listens to feedback from clients. Andy Butler alerted him to the fact 
> that the Gordius was producing more latency than Andy’s dedicated EDP 
> pedal, so Xavier got busy and reduced the latency specs dramatically. 
> Try asking Behringer or Yamaha for that matter to improve their midi 
> latency. I’d be curious to see how much the Gas pedal costs, it sure 
> looks expensive, but more and more I believe you can’t really drink 
> champagne on a beer budget
> 
hi Bill,
that's right, somehow the Gordius latency had crept up to about 30mS as Xavier added more features.
...but once Xavier was tipped off about this he fixed it really quickly,
in under a week if I remember right.
Now latency with the LG controlling an EDP actually *less* than that of the EDP's
dedicated hardware controller (the FC7).

The Gordius little giant won't (at the moment) work with all types of foot controller. There's 2 types of wiring common for an expression pedal, and you have to use the correct one (or do a quick changeover on the pedal with a soldering iron). The Roland type is ok, the Yamaha isn't. Xavier hopes to work on that, perhaps by copying the clever circuitry used by the lexicon vortex which accepts both types.

The Gordius with pedal controllers is actually much smoother than the FCB controllers (which don't send so many CCs during a sweep).

I agree with Bill that it's worth the extra expense, I already think it's worth it to have the better responding switches, the smooth CCs, and the small size.  ...and that's without the extra EDP tricks I'll be able to program.


..and indeed I have tried to tell Yamaha about the 70mS latency on their MFC10 footcontroller,while the UK tech support guy was able to confirm the existence of the problem, he then didn't have any way to pass that info on.
The Behringer FCB1010 has pretty low latency itself, but they never fixed the bug I found in the Virtualizer multi-fx. Wierdly though I did receive a second email back from them a couple of months after the report, saying that they hadn't forgotten about the problem.  

andy butler

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From: topu lyo <topulyo@gmail.com>
Subject: fcb1010
Date: Wed, 20 Feb 2008 12:56:54 -0500
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--Apple-Mail-2--262768669
Content-Transfer-Encoding: quoted-printable
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hey everyone

was wondering if anyone is familiar with this pedal in use
with the echoplex.

i'm having trouble getting expression pedal B to work for volume.

also is there a way so i don't have to program feedback and volume
for every single pedal any shortcuts?  any advice would be amazing!!



On Feb 20, 2008, at 12:53 PM, Andy Owens wrote:

> You know, this thing must be bigger than it looks on their website, =20=

> here is a pic from the log, looks much larger=85.
>
> http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/=20
> first_series_3.jpg
>
> Andy
>
>
> From: William Walker [mailto:billwalker@baymoon.com]
> Sent: Wednesday, February 20, 2008 12:29 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: gas pedal midi foot controller
>
> Hey that gas pedal does look pretty cool, the lay out looks a bit =20
> awkward, though,  with several narrowly spaced rows of buttons. I=92d =20=

> be worried I would continually false trigger presets., by =20
> inadvertently stepping on front row switches while reaching for a =20
> switch on the back row. Looks a bit like a Digital Music Corp =20
> Ground Control Pro, only cuter. I bet you could control a Fucking =20
> Fucker amp with one of those!  Actually though it took me a while =20
> to figure out how to program (not nearly as long as my first =20
> attempts to decipher the FCB1010) I really love the Gordius little =20
> Giant.  Its more compact and more ruggedly built than the FCB1010, =20
> and you can use any make of expression pedal to go with it.  At =20
> first a had to justify the expense as it is pricey, but it is =20
> really well built and the switches or very smooth and the =20
> architecture is as deep as the ocean. I look at it this way, why =20
> trust the operation of several thousand dollars worth of audio, =20
> computer, and looping gear to a$135 pedal that you cannot get parts =20=

> for? I=92m on my fourth behringer FCB1010 in the last 10+years, add =20=

> them all up and I spent more combined than on the one Gordius =20
> little Giant I recently bought. Not only that, ,  Xavier, the guy =20
> who builds them,  actually listens to feedback from clients. Andy =20
> Butler alerted him to the fact that the Gordius was producing more =20
> latency than Andy=92s dedicated EDP pedal, so Xavier got busy and =20
> reduced the latency specs dramatically. Try asking Behringer or =20
> Yamaha for that matter to improve their midi latency. I=92d be =20
> curious to see how much the Gas pedal costs, it sure looks =20
> expensive, but more and more I believe you can=92t really drink =20
> champagne on a beer budget


--Apple-Mail-2--262768669
Content-Transfer-Encoding: quoted-printable
Content-Type: text/html;
	charset=WINDOWS-1252

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
hey everyone<div><br class=3D"webkit-block-placeholder"></div><div>was =
wondering if anyone is familiar with this pedal in use</div><div>with =
the echoplex.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>i'm having trouble getting =
expression pedal B to work for volume.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>also is there a way so i =
don't have to program feedback and volume</div><div>for every single =
pedal any shortcuts? =A0any advice would be amazing!!</div><div><br =
class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div><br><div><div>On Feb 20, =
2008, at 12:53 PM, Andy Owens wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; orphans: 2; text-align: auto; text-indent: =
0px; text-transform: none; white-space: normal; widows: 2; word-spacing: =
0px; -webkit-border-horizontal-spacing: 0px; =
-webkit-border-vertical-spacing: 0px; =
-webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: =
auto; -webkit-text-stroke-width: 0; "><div class=3D"Section1"><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"2" color=3D"navy" face=3D"Arial"><span =
style=3D"font-size: 10pt; font-family: Arial; color: navy; ">You know, =
this thing must be bigger than it looks on their website, here is a pic =
from the log, looks much larger=85.<o:p></o:p></span></font></div><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"2" color=3D"navy" face=3D"Arial"><span =
style=3D"font-size: 10pt; font-family: Arial; color: navy; =
"><o:p>=A0</o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" color=3D"navy" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
color: navy; "><a =
href=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/fir=
st_series_3.jpg" =
title=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/fi=
rst_series_3.jpg" style=3D"color: blue; text-decoration: underline; =
">http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/first_ser=
ies_3.jpg</a><o:p></o:p></span></font></div><div style=3D"margin-top: =
0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; =
font-size: 12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
color=3D"navy" face=3D"Arial"><span style=3D"font-size: 10pt; =
font-family: Arial; color: navy; "><o:p>=A0</o:p></span></font></div><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"2" color=3D"navy" face=3D"Arial"><span =
style=3D"font-size: 10pt; font-family: Arial; color: navy; =
">Andy<o:p></o:p></span></font></div><div style=3D"margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"2" color=3D"navy" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
color: navy; "><o:p>=A0</o:p></span></font></div><div style=3D"margin-top:=
 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; =
font-size: 12pt; font-family: 'Times New Roman'; "><font size=3D"2" =
color=3D"navy" face=3D"Arial"><span style=3D"font-size: 10pt; =
font-family: Arial; color: navy; =
"><o:p>=A0</o:p></span></font></div><div><div class=3D"MsoNormal" =
align=3D"center" style=3D"text-align: center; margin-top: 0in; =
margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: =
12pt; font-family: 'Times New Roman'; "><font size=3D"3" face=3D"Times =
New Roman"><span style=3D"font-size: 12pt; "><hr size=3D"2" width=3D"100%"=
 align=3D"center" tabindex=3D"-1"></span></font></div><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><b><font size=3D"2" face=3D"Tahoma"><span style=3D"font-size: =
10pt; font-family: Tahoma; font-weight: bold; =
">From:</span></font></b><font size=3D"2" face=3D"Tahoma"><span =
style=3D"font-size: 10pt; font-family: Tahoma; "><span =
class=3D"Apple-converted-space">=A0</span>William Walker [<a =
href=3D"mailto:billwalker@baymoon.com">mailto:billwalker@baymoon.com</a>]<=
span class=3D"Apple-converted-space">=A0</span><br><b><span =
style=3D"font-weight: bold; ">Sent:</span></b><span =
class=3D"Apple-converted-space">=A0</span>Wednesday, February 20, 2008 =
12:29 PM<br><b><span style=3D"font-weight: bold; ">To:</span></b><span =
class=3D"Apple-converted-space">=A0</span><a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a><br><b><span style=3D"font-weight: bold; =
">Subject:</span></b><span class=3D"Apple-converted-space">=A0</span>Re: =
gas pedal midi foot controller</span></font><o:p></o:p></div></div><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"3" face=3D"Times New Roman"><span =
style=3D"font-size: 12pt; "><o:p>=A0</o:p></span></font></div><div =
style=3D"margin-top: 0in; margin-right: 0in; margin-left: 0in; =
margin-bottom: 0.0001pt; font-size: 12pt; font-family: 'Times New =
Roman'; "><font size=3D"2" face=3D"Arial"><span style=3D"font-size: =
10pt; font-family: Arial; ">Hey that gas pedal does look pretty cool, =
the lay out looks a bit awkward, though, =A0with several narrowly spaced =
rows of buttons. I=92d be worried I would continually false trigger =
presets., by inadvertently stepping on front row switches while reaching =
for a switch on the back row. Looks a bit like a Digital Music Corp =
Ground Control Pro, only cuter. I bet you could control a Fucking Fucker =
amp with one of those! =A0Actually though it took me a while to figure =
out how to program (not nearly as long as my first attempts to decipher =
the FCB1010) I really love the Gordius little Giant. =A0Its more compact =
and more ruggedly built than the FCB1010, and you can use any make of =
expression pedal to go with it. =A0At first a had to justify the expense =
as it is pricey, but it is really well built and the switches or very =
smooth and the architecture is as deep as the ocean. I look at it this =
way, why trust the operation of several thousand dollars worth of audio, =
computer, and looping gear to a$135 pedal that you cannot get parts for? =
I=92m on my fourth behringer FCB1010 in the last 10+years, add them all =
up and I spent more combined than on the one Gordius little Giant I =
recently bought. Not only that, ,=A0 Xavier, the guy who builds them, =
=A0actually listens to feedback from clients. Andy Butler alerted him to =
the fact that the Gordius was producing more latency than Andy=92s =
dedicated EDP pedal, so Xavier got busy and reduced the latency specs =
dramatically. Try asking Behringer or Yamaha for that matter to improve =
their midi latency. I=92d be curious to see how much the Gas pedal =
costs, it sure looks expensive, but more and more I believe you can=92t =
really drink champagne on a beer =
budget<o:p></o:p></span></font></div></div></span></blockquote></div><br><=
/div></body></html>=

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Actually, I witnessed something similar just yesterday night... <br>
Reyn (member of this list btw) was giving a concert in Belgium
yesterday, accompanying singer-songwriter Stephan Eicher, I went over
to see how he's using the Big Little Giant (sorry, to listen to the
nice music in the first place). Most of the time Reyn was looping drum
riffs, bass, backing vocals and playing keyboard. The Little Giant
controlled 3 EDPs (1 for vocals/drums, 1 for keyboard/guitar, and 1 for
Stephan's guitar), 2 Mac portables (Ableton Live, ...), it was
sometimes used to play synth bass notes, to control another drum
machine and more stuff I couldn't figure out. And one of the nice
things was indeed the fact that he put another FCB1010 at Stephan's
feet,&nbsp; this one was connected to the Little Giant control input, so
both musicians could take control and decide when to proceed to a next
part in the song.<br>
Oh yes, and talking about Looperlative, Bob, I heard Reyn dream loudly
too about replacing the 3 EDPs with an LP1, and definitely so if it
could be configured for more than 2 inputs...<br>
<br>
Grtz,<br>
Xavier<br>
<br>
<br>
Andy Owens wrote:<br>
<blockquote
 cite="mid:CCE3BE3A57512A4A894008C80AEEB2B709BF4DA7@ehost010-5.exch010.intermedia.net"
 type="cite">
  <pre wrap="">Another question for you geniuses, if I just wanted to use one LP1, and
have three people using it, say one guy has two tracks, another guy has
two tracks, another guy has four tracks, could you just have everyone
use an individual foot midi control and just assign the buttons to just
control individual tracks?, or maybe the three of us share two LP1's the
same way....anyone know if that would work? Yikes, I guess the fact that
the LP1 has only two inputs might mess that up.....but you could sum the
inputs pretty easy too.......

Thanks, Andy



-----Original Message-----
From: van Sinn [<a class="moz-txt-link-freetext" href="mailto:vansinn@post.cybercity.dk">mailto:vansinn@post.cybercity.dk</a>] 
Sent: Wednesday, February 20, 2008 11:46 AM
To: <a class="moz-txt-link-abbreviated" href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</a>
Subject: Re: gaspedal midi foot controller

murkie wrote:
  </pre>
  <blockquote type="cite">
    <pre wrap="">I wonder why nobody bothers with alphanumeric displays?!..
    </pre>
  </blockquote>
  <pre wrap=""><!---->
<a class="moz-txt-link-freetext" href="http://www.gordius.be">http://www.gordius.be</a> does..

  </pre>
</blockquote>
<br>
</body>
</html>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 19:31:21 2008
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Subject: gaspedal - followup
Date: Wed, 20 Feb 2008 11:31:18 -0800
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i'm interested in this gaspedal because there aren't many foot  
controllers that are 1) fully programmable, 2) can send batches of  
multiple PC, CC and Note messages simultaneously across different  
channels and 3) don't use those little metal clicker buttons!

i sent a message asking more info, got a message back that they don't  
understand what i could be doing that i would need to send so many  
simultaneous messages. good question, i ask that of myself every day  
here! buy anyway, i just sent a spec of my looping setup...

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 19:44:28 2008
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From: "Art Simon" <simart@gmail.com>
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Subject: Re: OT thanks Art Simon!!!!!
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Great Links Stefan, Thanks!

On Wed, Feb 20, 2008 at 12:29 AM, Stefan Tiedje <Stefan-Tiedje@addcom.de> wrote:
>  These are some I found interesting, but beware, they open the box of
>  pandora...
>
>  http://www.toterallee.blogspot.com/
>  http://nukebass.blogspot.com/
>  http://krypte.blogspot.com/
>  http://pharaohs-dance.blogspot.com/
>  http://my.opera.com/STEFANfromPARIS/blog/
>  (this is funny, because its not me and in Paris usually they write my
>  name with ph instead of f, there must be another Stefan in this small
>  town... ;-)
>
>  For searching other blogs, this seems usable:
>
>  http://totallyfuzzy.blogspot.com/
>
>  have fun...
>
>  Stefan
>
>  --
>  Stefan Tiedje------------x-------
>  --_____-----------|--------------
>  --(_|_ ----|\-----|-----()-------
>  -- _|_)----|-----()--------------
>  ----------()--------www.ccmix.com
>
>
>



-- 
Art Simon
simart@null.net
art.simon.tripod.com
myspace [dot] com/artsimon

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Date: Wed, 20 Feb 2008 14:11:40 -0500
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Hi Topu, a lot of us use the FCB1010.
your problem with expression pedal B might be due to the range on the fcb
which seems sometimes to be programmed as 0 to 1 instead of 0 to 127.
 That's happened to me before.  otherwise, you should just be able to
program it as long as your obie volume control setting is the same.

there are no shortcuts save using a PC or Mac editor.  I use 'iFCB' from
wabbitwanch. <http://www.wabbitwanch.com/>

there are various pc editors as well.

even with that you have to make sure to set your params for each button.

It is a great pedal, just a little obtuse to program.  thank god you only
need do it once in most applications!  I'm sure some other colleagues will
chime in with their experience, and soon you'll have an inbox full of
responses.  All best to you, Todd

On 2/20/08, topu lyo <topulyo@gmail.com> wrote:
>
> hey everyone
>
> was wondering if anyone is familiar with this pedal in use
> with the echoplex.
>
>
> i'm having trouble getting expression pedal B to work for volume.
>
>
> also is there a way so i don't have to program feedback and volume
> for every single pedal any shortcuts?  any advice would be amazing!!
>
>
>
>
>
> On Feb 20, 2008, at 12:53 PM, Andy Owens wrote:
>
> You know, this thing must be bigger than it looks on their website, here
> is a pic from the log, looks much larger=85.
>
>
> http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/first_seri=
es_3.jpg
>
> Andy
>
>
> ------------------------------
> *From:* William Walker [mailto:billwalker@baymoon.com<billwalker@baymoon.=
com>
> ]
> *Sent:* Wednesday, February 20, 2008 12:29 PM
> *To:* Loopers-Delight@loopers-delight.com
> *Subject:* Re: gas pedal midi foot controller
>
> Hey that gas pedal does look pretty cool, the lay out looks a bit awkward=
,
> though,  with several narrowly spaced rows of buttons. I'd be worried I
> would continually false trigger presets., by inadvertently stepping on fr=
ont
> row switches while reaching for a switch on the back row. Looks a bit lik=
e a
> Digital Music Corp Ground Control Pro, only cuter. I bet you could contro=
l a
> Fucking Fucker amp with one of those!  Actually though it took me a while=
 to
> figure out how to program (not nearly as long as my first attempts to
> decipher the FCB1010) I really love the Gordius little Giant.  Its more
> compact and more ruggedly built than the FCB1010, and you can use any mak=
e
> of expression pedal to go with it.  At first a had to justify the expense=
 as
> it is pricey, but it is really well built and the switches or very smooth
> and the architecture is as deep as the ocean. I look at it this way, why
> trust the operation of several thousand dollars worth of audio, computer,
> and looping gear to a$135 pedal that you cannot get parts for? I'm on my
> fourth behringer FCB1010 in the last 10+years, add them all up and I spen=
t
> more combined than on the one Gordius little Giant I recently bought. Not
> only that, ,  Xavier, the guy who builds them,  actually listens to feedb=
ack
> from clients. Andy Butler alerted him to the fact that the Gordius was
> producing more latency than Andy's dedicated EDP pedal, so Xavier got bus=
y
> and reduced the latency specs dramatically. Try asking Behringer or Yamah=
a
> for that matter to improve their midi latency. I'd be curious to see how
> much the Gas pedal costs, it sure looks expensive, but more and more I
> believe you can't really drink champagne on a beer budget
>
>
>
>



--=20
http://www.toddreynolds.com                    |:
http://myspace.com/toddreynoldsmusic  |:
------------------------------------------------------|:
917.576.6166
todd@toddreynolds.com
toddreyn@gmail.com

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Hi Topu, a lot of us use the FCB1010.<div><br class=3D"webkit-block-placeho=
lder"></div><div>your problem with expression pedal B might be due to the r=
ange on the fcb which seems sometimes to be programmed as 0 to 1 instead of=
 0 to 127. &nbsp;That&#39;s happened to me before. &nbsp;otherwise, you sho=
uld just be able to program it as long as your obie volume control setting =
is the same. &nbsp;</div>
<div><br class=3D"webkit-block-placeholder"></div><div>there are no shortcu=
ts save using a PC or Mac editor. &nbsp;I use <a href=3D"http://www.wabbitw=
anch.com/">&#39;iFCB&#39; from wabbitwanch.</a></div><div><br class=3D"webk=
it-block-placeholder">
</div><div>there are various pc editors as well.</div><div><br class=3D"web=
kit-block-placeholder"></div><div>even with that you have to make sure to s=
et your params for each button. &nbsp;</div><div><br class=3D"webkit-block-=
placeholder">
</div><div>It is a great pedal, just a little obtuse to program. &nbsp;than=
k god you only need do it once in most applications! &nbsp;I&#39;m sure som=
e other colleagues will chime in with their experience, and soon you&#39;ll=
 have an inbox full of responses. &nbsp;All best to you, Todd<br>
<div><br><div><span class=3D"gmail_quote">On 2/20/08, <b class=3D"gmail_sen=
dername">topu lyo</b> &lt;<a href=3D"mailto:topulyo@gmail.com">topulyo@gmai=
l.com</a>&gt; wrote:</span><blockquote class=3D"gmail_quote" style=3D"margi=
n:0;margin-left:0.8ex;border-left:1px #ccc solid;padding-left:1ex">
<div style=3D"word-wrap:break-word">
hey everyone<div><br>&nbsp;</div><div>was wondering if anyone is familiar w=
ith this pedal in use</div><div>with the echoplex.</div><div><br>&nbsp;</di=
v><div>i&#39;m having trouble getting expression pedal B to work for volume=
.</div>
<div><br>&nbsp;</div><div>also is there a way so i don&#39;t have to progra=
m feedback and volume</div><div>for every single pedal any shortcuts? &nbsp=
;any advice would be amazing!!</div><div><br>&nbsp;</div><div><br>&nbsp;</d=
iv><div><br><div>
<div>On Feb 20, 2008, at 12:53 PM, Andy Owens wrote:</div><br><blockquote t=
ype=3D"cite"><span style=3D"border-collapse:separate;color:rgb(0, 0, 0);fon=
t-family:Helvetica;font-size:12px;font-style:normal;font-variant:normal;fon=
t-weight:normal;letter-spacing:normal;line-height:normal;text-align:auto;te=
xt-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><div=
>
<div style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom=
:0.0001pt;font-size:12pt"><font size=3D"2" color=3D"navy" face=3D"Arial"><s=
pan style=3D"font-size:10pt;font-family:Arial;color:navy">You know, this th=
ing must be bigger than it looks on their website, here is a pic from the l=
og, looks much larger=85.</span></font></div>
<div style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom=
:0.0001pt;font-size:12pt"><font size=3D"2" color=3D"navy" face=3D"Arial"><s=
pan style=3D"font-size:10pt;font-family:Arial;color:navy">&nbsp;</span></fo=
nt></div><div style=3D"margin-top:0in;margin-right:0in;margin-left:0in;marg=
in-bottom:0.0001pt;font-size:12pt">
<font size=3D"2" color=3D"navy" face=3D"Arial"><span style=3D"font-size:10p=
t;font-family:Arial;color:navy"><a href=3D"http://guitar-systems.com/wordpr=
ess/wp-content/uploads/2007/09/first_series_3.jpg" title=3D"http://guitar-s=
ystems.com/wordpress/wp-content/uploads/2007/09/first_series_3.jpg" style=
=3D"color:blue;text-decoration:underline" target=3D"_blank" onclick=3D"retu=
rn top.js.OpenExtLink(window,event,this)">http://guitar-systems.com/wordpre=
ss/wp-content/uploads/2007/09/first_series_3.jpg</a></span></font></div>
<div style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom=
:0.0001pt;font-size:12pt"><font size=3D"2" color=3D"navy" face=3D"Arial"><s=
pan style=3D"font-size:10pt;font-family:Arial;color:navy">&nbsp;</span></fo=
nt></div><div style=3D"margin-top:0in;margin-right:0in;margin-left:0in;marg=
in-bottom:0.0001pt;font-size:12pt">
<font size=3D"2" color=3D"navy" face=3D"Arial"><span style=3D"font-size:10p=
t;font-family:Arial;color:navy">Andy</span></font></div><div style=3D"margi=
n-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0001pt;font-size=
:12pt">
<font size=3D"2" color=3D"navy" face=3D"Arial"><span style=3D"font-size:10p=
t;font-family:Arial;color:navy">&nbsp;</span></font></div><div style=3D"mar=
gin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0001pt;font-si=
ze:12pt"><font size=3D"2" color=3D"navy" face=3D"Arial"><span style=3D"font=
-size:10pt;font-family:Arial;color:navy">&nbsp;</span></font></div>
<div><div align=3D"center" style=3D"text-align:center;margin-top:0in;margin=
-right:0in;margin-left:0in;margin-bottom:0.0001pt;font-size:12pt"><font siz=
e=3D"3" face=3D"Times New Roman"><span style=3D"font-size:12pt"><hr size=3D=
"2" width=3D"100%" align=3D"center">
</span></font></div><div style=3D"margin-top:0in;margin-right:0in;margin-le=
ft:0in;margin-bottom:0.0001pt;font-size:12pt"><b><font size=3D"2" face=3D"T=
ahoma"><span style=3D"font-size:10pt;font-family:Tahoma;font-weight:bold">F=
rom:</span></font></b><font size=3D"2" face=3D"Tahoma"><span style=3D"font-=
size:10pt;font-family:Tahoma"><span>&nbsp;</span>William Walker [<a href=3D=
"mailto:billwalker@baymoon.com" target=3D"_blank" onclick=3D"return top.js.=
OpenExtLink(window,event,this)">mailto:billwalker@baymoon.com</a>]<span>&nb=
sp;</span><br>
<b><span style=3D"font-weight:bold">Sent:</span></b><span>&nbsp;</span>Wedn=
esday, February 20, 2008 12:29 PM<br><b><span style=3D"font-weight:bold">To=
:</span></b><span>&nbsp;</span><a href=3D"mailto:Loopers-Delight@loopers-de=
light.com" target=3D"_blank" onclick=3D"return top.js.OpenExtLink(window,ev=
ent,this)">Loopers-Delight@loopers-delight.com</a><br>
<b><span style=3D"font-weight:bold">Subject:</span></b><span>&nbsp;</span>R=
e: gas pedal midi foot controller</span></font></div></div><div style=3D"ma=
rgin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0001pt;font-s=
ize:12pt">
<font size=3D"3" face=3D"Times New Roman"><span style=3D"font-size:12pt">&n=
bsp;</span></font></div><div style=3D"margin-top:0in;margin-right:0in;margi=
n-left:0in;margin-bottom:0.0001pt;font-size:12pt"><font size=3D"2" face=3D"=
Arial"><span style=3D"font-size:10pt;font-family:Arial">Hey that gas pedal =
does look pretty cool, the lay out looks a bit awkward, though, &nbsp;with =
several narrowly spaced rows of buttons. I'd be worried I would continually=
 false trigger presets., by inadvertently stepping on front row switches wh=
ile reaching for a switch on the back row. Looks a bit like a Digital Music=
 Corp Ground Control Pro, only cuter. I bet you could control a Fucking Fuc=
ker amp with one of those! &nbsp;Actually though it took me a while to figu=
re out how to program (not nearly as long as my first attempts to decipher =
the FCB1010) I really love the Gordius little Giant. &nbsp;Its more compact=
 and more ruggedly built than the FCB1010, and you can use any make of expr=
ession pedal to go with it. &nbsp;At first a had to justify the expense as =
it is pricey, but it is really well built and the switches or very smooth a=
nd the architecture is as deep as the ocean. I look at it this way, why tru=
st the operation of several thousand dollars worth of audio, computer, and =
looping gear to a$135 pedal that you cannot get parts for? I'm on my fourth=
 behringer FCB1010 in the last 10+years, add them all up and I spent more c=
ombined than on the one Gordius little Giant I recently bought. Not only th=
at, ,&nbsp; Xavier, the guy who builds them, &nbsp;actually listens to feed=
back from clients. Andy Butler alerted him to the fact that the Gordius was=
 producing more latency than Andy's dedicated EDP pedal, so Xavier got busy=
 and reduced the latency specs dramatically. Try asking Behringer or Yamaha=
 for that matter to improve their midi latency. I'd be curious to see how m=
uch the Gas pedal costs, it sure looks expensive, but more and more I belie=
ve you can't really drink champagne on a beer budget</span></font></div>
</div></span></blockquote></div><br>&nbsp;</div></div></blockquote></div><b=
r><br clear=3D"all"><br>-- <br><a href=3D"http://www.toddreynolds.com">http=
://www.toddreynolds.com</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;|:<=
br><a href=3D"http://myspace.com/toddreynoldsmusic">http://myspace.com/todd=
reynoldsmusic</a>&nbsp;&nbsp;|:<br>
------------------------------------------------------|:<br>917.576.6166&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br><a href=3D"mailto:todd@=
toddreynolds.com">todd@toddreynolds.com</a><br><a href=3D"mailto:toddreyn@g=
mail.com">toddreyn@gmail.com</a>
</div></div>

------=_Part_1791_26157416.1203534700681--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 21:02:04 2008
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Date: Wed, 20 Feb 2008 22:02:02 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: fcb1010
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On Wed, Feb 20, 2008 at 6:56 PM, topu lyo <topulyo@gmail.com> wrote:
>  hey everyone
>
> was wondering if anyone is familiar with this pedal in use
> with the echoplex.

Yes, I have been using it with my Echoplex.


> i'm having trouble getting expression pedal B to work for volume.
>
> also is there a way so i don't have to program feedback and volume
> for every single pedal any shortcuts?  any advice would be amazing!!

Unfortunately there is no shortcut. For each patch you need to program
what MIDI events are going to be sent out by the FCB1010. But if you
don't like to sit for three hours doing this you can try to download a
computer software editor. I don't have the links but you can find out
about that over at the FCB1010 mailing list.
http://tech.groups.yahoo.com/group/fcb1010/

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 21:18:40 2008
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Date: Wed, 20 Feb 2008 16:18:37 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
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> Unfortunately there is no shortcut. For each patch you need to program
> what MIDI events are going to be sent out by the FCB1010. But if you
> don't like to sit for three hours doing this you can try to download a
> computer software editor. I don't have the links but you can find out
> about that over at the FCB1010 mailing list.
> http://tech.groups.yahoo.com/group/fcb1010/

If you have the Uno chip installed (worth the effort to do so) you can
get Ripwerks here..

http://home.att.net/~the-bug/RipwerxFcb1010Editor.html

If you have the original FCB you can use this..

http://www.mtnsys.com/faq-fcb/PCEditorBeta.htm

Tony

On Feb 20, 2008 4:02 PM, Per Boysen <perboysen@gmail.com> wrote:
> On Wed, Feb 20, 2008 at 6:56 PM, topu lyo <topulyo@gmail.com> wrote:
> >  hey everyone
> >
> > was wondering if anyone is familiar with this pedal in use
> > with the echoplex.
>
> Yes, I have been using it with my Echoplex.
>
>
> > i'm having trouble getting expression pedal B to work for volume.
> >
> > also is there a way so i don't have to program feedback and volume
> > for every single pedal any shortcuts?  any advice would be amazing!!
>
> Unfortunately there is no shortcut. For each patch you need to program
> what MIDI events are going to be sent out by the FCB1010. But if you
> don't like to sit for three hours doing this you can try to download a
> computer software editor. I don't have the links but you can find out
> about that over at the FCB1010 mailing list.
> http://tech.groups.yahoo.com/group/fcb1010/
>
> --
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 21:43:59 2008
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Date: Wed, 20 Feb 2008 22:50:33 +0100
From: Luca Formentini <luca@unguitar.com>
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Subject: Re: gaspedal - followup
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Ciao Zoe,
in the infinite ( but now ended) search for the perfect pedalboard I 
also conctacted Lenders.
It was May last year, when the first rumors about the gaspedal were 
coming out.
This is the reply I got from him at that time:
__________________________________________________________
"The gaspedal is posible to send momentary switch functions tht means 
that every controll switch can be used as a latch or unlach switch and 
reverse status for the leds.
this last one for use wth units like line 6 where the status is reverse.

we are in production proces now that means that we are making the cases 
and pcb boards for building the gas pedal.
The displee and expand are also in the building proces.
the soft ware is actualy ready but i can try to let you see it but do 
not have the time for it right now.
let me see wht i can do.

we hope to get the first one out in july /august.
please check the the website sometime.
www.guitar-systems.com
i live in the netherlands.
price wil be €999, ex vat. "
__________________________________________________________

At that time there was no pc editor available yet; it would have been 
the most interesting way to check its technical possibilities.

Anyway, I decided to take the big Gordius one.
It was not just a matter of cost ( big difference anyway) but because I 
felt there was a different commitment behind the project.
Even if I haven't had the chance to compare the two, I am happy to have 
decided for the Gordius as Xavier is someone who is clearly showing his 
genuine care and, in times when people are falling behind the products 
they sell making them a problem difficult to deal with, I think this is 
a major issue to keep on consideration.
Lenders is making guitar player's rack systems and we know that there 
are completely different requirements from that target ( very simple 
functions, low flexibility and so on).
I bought the first Big Gordius made and the buttons were the most 
important question mark to check when receiving the pedal.
I have been super happy to find that these allow me to play even in very 
silent environments ( recording together with acoustic instruments like 
cellos, violins, flutes...) and are both sensitive and solid.

Hope to have been someway useful in this very delicate decision.

My best,
Luca
www.unguitar.com



info at zoekeating wrote:

> i'm interested in this gaspedal because there aren't many foot 
> controllers that are 1) fully programmable, 2) can send batches of 
> multiple PC, CC and Note messages simultaneously across different 
> channels and 3) don't use those little metal clicker buttons!
>
> i sent a message asking more info, got a message back that they don't 
> understand what i could be doing that i would need to send so many 
> simultaneous messages. good question, i ask that of myself every day 
> here! buy anyway, i just sent a spec of my looping setup...
>
>
> __________ Informazione NOD32 2889 (20080220) __________
>
> Questo messaggio è stato controllato dal Sistema Antivirus NOD32
> http://www.nod32.it
>
>
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 21:52:05 2008
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Subject: RE: gaspedal - followup
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Date: Wed, 20 Feb 2008 13:53:04 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
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Subject: Re: gaspedal - followup
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Whoa, so it'll be about 2000 USD?



On Wed, Feb 20, 2008 at 1:50 PM, Luca Formentini <luca@unguitar.com> wrote:

>
> __________________________________________________________
>
>
> we hope to get the first one out in july /august.
> please check the the website sometime.
> www.guitar-systems.com
> i live in the netherlands.
> price wil be =80999, ex vat. "
> __________________________________________________________
>
>

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Whoa, so it&#39;ll be about 2000 USD?<br><br><br><br><div class=3D"gmail_qu=
ote">On Wed, Feb 20, 2008 at 1:50 PM, Luca Formentini &lt;<a href=3D"mailto=
:luca@unguitar.com">luca@unguitar.com</a>&gt; wrote:<br><blockquote class=
=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, 204); margin=
: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
__________________________________________________________<br><br>
<br>
we hope to get the first one out in july /august.<br>
please check the the website sometime.<br>
<a href=3D"http://www.guitar-systems.com" target=3D"_blank">www.guitar-syst=
ems.com</a><br>
i live in the netherlands.<br>
price wil be =80999, ex vat. &quot;<br>
__________________________________________________________<br>
<br></blockquote></div><br>

------=_Part_3246_17336373.1203544385021--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 22:00:19 2008
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From: info at zoekeating <info@zoekeating.com>
Subject: Re: gaspedal - followup
Date: Wed, 20 Feb 2008 14:00:06 -0800
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Thank you Luca, great information!

On Feb 20, 2008, at 1:50 PM, Luca Formentini wrote:

> Ciao Zoe,
> in the infinite ( but now ended) search for the perfect pedalboard =20
> I also conctacted Lenders.
> It was May last year, when the first rumors about the gaspedal were =20=

> coming out.
> This is the reply I got from him at that time:
> __________________________________________________________
> "The gaspedal is posible to send momentary switch functions tht =20
> means that every controll switch can be used as a latch or unlach =20
> switch and reverse status for the leds.
> this last one for use wth units like line 6 where the status is =20
> reverse.
>
> we are in production proces now that means that we are making the =20
> cases and pcb boards for building the gas pedal.
> The displee and expand are also in the building proces.
> the soft ware is actualy ready but i can try to let you see it but =20
> do not have the time for it right now.
> let me see wht i can do.
>
> we hope to get the first one out in july /august.
> please check the the website sometime.
> www.guitar-systems.com
> i live in the netherlands.
> price wil be =80999, ex vat. "
> __________________________________________________________
>
> At that time there was no pc editor available yet; it would have =20
> been the most interesting way to check its technical possibilities.
>
> Anyway, I decided to take the big Gordius one.
> It was not just a matter of cost ( big difference anyway) but =20
> because I felt there was a different commitment behind the project.
> Even if I haven't had the chance to compare the two, I am happy to =20
> have decided for the Gordius as Xavier is someone who is clearly =20
> showing his genuine care and, in times when people are falling =20
> behind the products they sell making them a problem difficult to =20
> deal with, I think this is a major issue to keep on consideration.
> Lenders is making guitar player's rack systems and we know that =20
> there are completely different requirements from that target ( very =20=

> simple functions, low flexibility and so on).
> I bought the first Big Gordius made and the buttons were the most =20
> important question mark to check when receiving the pedal.
> I have been super happy to find that these allow me to play even in =20=

> very silent environments ( recording together with acoustic =20
> instruments like cellos, violins, flutes...) and are both sensitive =20=

> and solid.
>
> Hope to have been someway useful in this very delicate decision.
>
> My best,
> Luca
> www.unguitar.com
>
>
>
> info at zoekeating wrote:
>
>> i'm interested in this gaspedal because there aren't many foot =20
>> controllers that are 1) fully programmable, 2) can send batches of =20=

>> multiple PC, CC and Note messages simultaneously across different =20
>> channels and 3) don't use those little metal clicker buttons!
>>
>> i sent a message asking more info, got a message back that they =20
>> don't understand what i could be doing that i would need to send =20
>> so many simultaneous messages. good question, i ask that of myself =20=

>> every day here! buy anyway, i just sent a spec of my looping setup...
>>
>>
>> __________ Informazione NOD32 2889 (20080220) __________
>>
>> Questo messaggio =E8 stato controllato dal Sistema Antivirus NOD32
>> http://www.nod32.it
>>
>>
>>
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 20 22:22:28 2008
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Luca Formentini wrote about Gordius LG

> I have been super happy to find that these allow me to play even in very 
> silent environments ( recording together with acoustic instruments like 
> cellos, violins, flutes...) and are both sensitive and solid.
> 

thanks for your input Luca.

My impression was that the LG buttons are only silent if pressed and released very slowly. 
I guess what you mean is that the loud click of a stompbox type switch is absent.
For rhythmically precise use there's a definite click, especially on the release of the button. This is confirmed by Xavier. He says that it wasn't practical to change the mechanics of the switch.

For an equivalent tap, it's actually a bit noisier than the fcb1010, however luckily it's possible to use a somewhat lighter touch.



andy butler

From Loopers-Delight-request@loopers-delight.com  Thu Feb 21 00:13:21 2008
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andy butler wrote:
> 
> 
> Luca Formentini wrote about Gordius LG
> 
>> I have been super happy to find that these allow me to play even in 
>> very silent environments ( recording together with acoustic 
>> instruments like cellos, violins, flutes...) and are both sensitive 
>> and solid.
>>
> 
> thanks for your input Luca.
> 
> My impression was that the LG buttons are only silent if pressed and 
> released very slowly. I guess what you mean is that the loud click of a 
> stompbox type switch is absent.
> For rhythmically precise use there's a definite click, especially on the 
> release of the button. This is confirmed by Xavier. He says that it 
> wasn't practical to change the mechanics of the switch.
> 
> For an equivalent tap, it's actually a bit noisier than the fcb1010, 
> however luckily it's possible to use a somewhat lighter touch.

Andy, sometimes during fast or complex passages, I have this mental 
disorder ( ;) ) which require that I gradually approach the board, place 
and rest my foot on a button till just the right time.
IOW, I prefer buttons with a bit of initial resistance so I can do the 
'foot resting' trick.
The FCB buttons do allow this, but don't have a definite feel as to when 
they actually engage; always feels like having to really 'press' them.

I also need certain stomp-actions, like pitch transposings, relatively 
brief at-a-time, where buttons with a click-resistance aren't too great.

How would you describe the LG buttons relative to above?

-- 
rgds,
van Sinn

From info8905@mchsi.com  Thu Feb 21 01:58:11 2008
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From: info8905@mchsi.com (KC Brown Finance Plc)
Subject: Loan Offer For All @ Low Rate
Date: Thu, 21 Feb 2008 01:49:01 +0000
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 Good Day, 

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Cc: Loopers-Delight@loopers-delight.com
From: topu lyo <topulyo@gmail.com>
Subject: fcb1010 expression b still not working for volume!
Date: Wed, 20 Feb 2008 22:39:55 -0500
To: todd@toddreynolds.com
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hey guys

sorry to bother with all this out of date stuff.  i feel like i'm =20
beating a dead horse
but just got this new pedal and can't wait to make it work properly.

so my feed back pedal (exp. a) is working great, i programmed it from =20=

0-127 no prob.  the
feedback number in the echoplex is set at 1.

exp. pedal b however is not working for the life of me.  i'm trying =20
to get it to work volume and
the volume number in the echoplex is 7 (a strange number) and i did =20
almost exactly the same
thing with the exception of getting patch number 9 to blink????

i've been messing around with this pedal for the last 10 hours and =20
very frustrated!  please help!!



On Feb 20, 2008, at 2:11 PM, todd reynolds wrote:

> Hi Topu, a lot of us use the FCB1010.
>
> your problem with expression pedal B might be due to the range on =20
> the fcb which seems sometimes to be programmed as 0 to 1 instead of =20=

> 0 to 127.  That's happened to me before.  otherwise, you should =20
> just be able to program it as long as your obie volume control =20
> setting is the same.
>
> there are no shortcuts save using a PC or Mac editor.  I use 'iFCB' =20=

> from wabbitwanch.
>
> there are various pc editors as well.
>
> even with that you have to make sure to set your params for each =20
> button.
>
> It is a great pedal, just a little obtuse to program.  thank god =20
> you only need do it once in most applications!  I'm sure some other =20=

> colleagues will chime in with their experience, and soon you'll =20
> have an inbox full of responses.  All best to you, Todd
>
> On 2/20/08, topu lyo <topulyo@gmail.com> wrote:
> hey everyone
>
>
> was wondering if anyone is familiar with this pedal in use
> with the echoplex.
>
>
> i'm having trouble getting expression pedal B to work for volume.
>
>
> also is there a way so i don't have to program feedback and volume
> for every single pedal any shortcuts?  any advice would be amazing!!
>
>
>
>
>
> On Feb 20, 2008, at 12:53 PM, Andy Owens wrote:
>
>> You know, this thing must be bigger than it looks on their =20
>> website, here is a pic from the log, looks much larger=85.
>>
>> http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/=20
>> first_series_3.jpg
>>
>> Andy
>>
>>
>> From: William Walker [mailto:billwalker@baymoon.com]
>> Sent: Wednesday, February 20, 2008 12:29 PM
>> To: Loopers-Delight@loopers-delight.com
>> Subject: Re: gas pedal midi foot controller
>>
>> Hey that gas pedal does look pretty cool, the lay out looks a bit =20
>> awkward, though,  with several narrowly spaced rows of buttons. =20
>> I'd be worried I would continually false trigger presets., by =20
>> inadvertently stepping on front row switches while reaching for a =20
>> switch on the back row. Looks a bit like a Digital Music Corp =20
>> Ground Control Pro, only cuter. I bet you could control a Fucking =20
>> Fucker amp with one of those!  Actually though it took me a while =20
>> to figure out how to program (not nearly as long as my first =20
>> attempts to decipher the FCB1010) I really love the Gordius little =20=

>> Giant.  Its more compact and more ruggedly built than the FCB1010, =20=

>> and you can use any make of expression pedal to go with it.  At =20
>> first a had to justify the expense as it is pricey, but it is =20
>> really well built and the switches or very smooth and the =20
>> architecture is as deep as the ocean. I look at it this way, why =20
>> trust the operation of several thousand dollars worth of audio, =20
>> computer, and looping gear to a$135 pedal that you cannot get =20
>> parts for? I'm on my fourth behringer FCB1010 in the last 10=20
>> +years, add them all up and I spent more combined than on the one =20
>> Gordius little Giant I recently bought. Not only that, ,  Xavier, =20
>> the guy who builds them,  actually listens to feedback from =20
>> clients. Andy Butler alerted him to the fact that the Gordius was =20
>> producing more latency than Andy's dedicated EDP pedal, so Xavier =20
>> got busy and reduced the latency specs dramatically. Try asking =20
>> Behringer or Yamaha for that matter to improve their midi latency. =20=

>> I'd be curious to see how much the Gas pedal costs, it sure looks =20
>> expensive, but more and more I believe you can't really drink =20
>> champagne on a beer budget
>
>
>
>
>
> --=20
> http://www.toddreynolds.com                    |:
> http://myspace.com/toddreynoldsmusic  |:
> ------------------------------------------------------|:
> 917.576.6166
> todd@toddreynolds.com
> toddreyn@gmail.com


--Apple-Mail-1--227787524
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Content-Type: text/html;
	charset=WINDOWS-1252

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
hey guys=A0<div><br class=3D"webkit-block-placeholder"></div><div>sorry =
to bother with all this out of date stuff. =A0i feel like i'm beating a =
dead horse</div><div>but just got this new pedal and can't wait to make =
it work properly. =A0</div><div><br =
class=3D"webkit-block-placeholder"></div><div>so my feed back pedal =
(exp. a) is working great, i programmed it from 0-127 no prob. =
=A0the</div><div>feedback number in the echoplex is set at =
1.</div><div><br class=3D"webkit-block-placeholder"></div><div>exp. =
pedal b however is not working for the life of me. =A0i'm trying to get =
it to work volume and</div><div>the volume number in the echoplex is 7 =
(a strange number) and i did almost exactly the same</div><div>thing =
with the exception of getting patch number 9 to blink????</div><div><br =
class=3D"webkit-block-placeholder"></div><div>i've been messing around =
with this pedal for the last 10 hours and very frustrated! =A0please =
help!!</div><div><br class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div><br><div><div>On Feb 20, =
2008, at 2:11 PM, todd reynolds wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite">Hi Topu, a =
lot of us use the FCB1010.<div><br =
class=3D"webkit-block-placeholder"></div><div>your problem with =
expression pedal B might be due to the range on the fcb which seems =
sometimes to be programmed as 0 to 1 instead of 0 to 127. =A0That's =
happened to me before. =A0otherwise, you should just be able to program =
it as long as your obie volume control setting is the same. =A0</div> =
<div><br class=3D"webkit-block-placeholder"></div><div>there are no =
shortcuts save using a PC or Mac editor. =A0I use <a =
href=3D"http://www.wabbitwanch.com/">'iFCB' from =
wabbitwanch.</a></div><div><br class=3D"webkit-block-placeholder"> =
</div><div>there are various pc editors as well.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>even with that you have to =
make sure to set your params for each button. =A0</div><div><br =
class=3D"webkit-block-placeholder"> </div><div>It is a great pedal, just =
a little obtuse to program. =A0thank god you only need do it once in =
most applications! =A0I'm sure some other colleagues will chime in with =
their experience, and soon you'll have an inbox full of responses. =A0All =
best to you, Todd<br> <div><br><div><span class=3D"gmail_quote">On =
2/20/08, <b class=3D"gmail_sendername">topu lyo</b> &lt;<a =
href=3D"mailto:topulyo@gmail.com">topulyo@gmail.com</a>&gt; =
wrote:</span><blockquote class=3D"gmail_quote" =
style=3D"margin:0;margin-left:0.8ex;border-left:1px #ccc =
solid;padding-left:1ex"> <div style=3D"word-wrap:break-word"> hey =
everyone<div><br>=A0</div><div>was wondering if anyone is familiar with =
this pedal in use</div><div>with the =
echoplex.</div><div><br>=A0</div><div>i'm having trouble getting =
expression pedal B to work for volume.</div> <div><br>=A0</div><div>also =
is there a way so i don't have to program feedback and =
volume</div><div>for every single pedal any shortcuts? =A0any advice =
would be amazing!!</div><div><br>=A0</div><div><br>=A0</div><div><br><div>=
 <div>On Feb 20, 2008, at 12:53 PM, Andy Owens =
wrote:</div><br><blockquote type=3D"cite"><span =
style=3D"border-collapse:separate;color:rgb(0, 0, =
0);font-family:Helvetica;font-size:12px;font-style:normal;font-variant:nor=
mal;font-weight:normal;letter-spacing:normal;line-height:normal;text-align=
:auto;text-indent:0px;text-transform:none;white-space:normal;word-spacing:=
0px"><div> <div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"><font size=3D"2" color=3D"navy" face=3D"Arial"><span=
 style=3D"font-size:10pt;font-family:Arial;color:navy">You know, this =
thing must be bigger than it looks on their website, here is a pic from =
the log, looks much larger=85.</span></font></div> <div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"><font size=3D"2" color=3D"navy" face=3D"Arial"><span=
 =
style=3D"font-size:10pt;font-family:Arial;color:navy">=A0</span></font></d=
iv><div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"> <font size=3D"2" color=3D"navy" =
face=3D"Arial"><span =
style=3D"font-size:10pt;font-family:Arial;color:navy"><a =
href=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/fir=
st_series_3.jpg" =
title=3D"http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/fi=
rst_series_3.jpg" style=3D"color:blue;text-decoration:underline" =
target=3D"_blank" onclick=3D"return =
top.js.OpenExtLink(window,event,this)">http://guitar-systems.com/wordpress=
/wp-content/uploads/2007/09/first_series_3.jpg</a></span></font></div> =
<div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"><font size=3D"2" color=3D"navy" face=3D"Arial"><span=
 =
style=3D"font-size:10pt;font-family:Arial;color:navy">=A0</span></font></d=
iv><div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"> <font size=3D"2" color=3D"navy" =
face=3D"Arial"><span =
style=3D"font-size:10pt;font-family:Arial;color:navy">Andy</span></font></=
div><div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"> <font size=3D"2" color=3D"navy" =
face=3D"Arial"><span =
style=3D"font-size:10pt;font-family:Arial;color:navy">=A0</span></font></d=
iv><div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"><font size=3D"2" color=3D"navy" face=3D"Arial"><span=
 =
style=3D"font-size:10pt;font-family:Arial;color:navy">=A0</span></font></d=
iv> <div><div align=3D"center" =
style=3D"text-align:center;margin-top:0in;margin-right:0in;margin-left:0in=
;margin-bottom:0.0001pt;font-size:12pt"><font size=3D"3" face=3D"Times =
New Roman"><span style=3D"font-size:12pt"><hr size=3D"2" width=3D"100%" =
align=3D"center"> </span></font></div><div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"><b><font size=3D"2" face=3D"Tahoma"><span =
style=3D"font-size:10pt;font-family:Tahoma;font-weight:bold">From:</span><=
/font></b><font size=3D"2" face=3D"Tahoma"><span =
style=3D"font-size:10pt;font-family:Tahoma"><span>=A0</span>William =
Walker [<a href=3D"mailto:billwalker@baymoon.com" target=3D"_blank" =
onclick=3D"return =
top.js.OpenExtLink(window,event,this)">mailto:billwalker@baymoon.com</a>]<=
span>=A0</span><br> <b><span =
style=3D"font-weight:bold">Sent:</span></b><span>=A0</span>Wednesday, =
February 20, 2008 12:29 PM<br><b><span =
style=3D"font-weight:bold">To:</span></b><span>=A0</span><a =
href=3D"mailto:Loopers-Delight@loopers-delight.com" target=3D"_blank" =
onclick=3D"return =
top.js.OpenExtLink(window,event,this)">Loopers-Delight@loopers-delight.com=
</a><br> <b><span =
style=3D"font-weight:bold">Subject:</span></b><span>=A0</span>Re: gas =
pedal midi foot controller</span></font></div></div><div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"> <font size=3D"3" face=3D"Times New Roman"><span =
style=3D"font-size:12pt">=A0</span></font></div><div =
style=3D"margin-top:0in;margin-right:0in;margin-left:0in;margin-bottom:0.0=
001pt;font-size:12pt"><font size=3D"2" face=3D"Arial"><span =
style=3D"font-size:10pt;font-family:Arial">Hey that gas pedal does look =
pretty cool, the lay out looks a bit awkward, though, =A0with several =
narrowly spaced rows of buttons. I'd be worried I would continually =
false trigger presets., by inadvertently stepping on front row switches =
while reaching for a switch on the back row. Looks a bit like a Digital =
Music Corp Ground Control Pro, only cuter. I bet you could control a =
Fucking Fucker amp with one of those! =A0Actually though it took me a =
while to figure out how to program (not nearly as long as my first =
attempts to decipher the FCB1010) I really love the Gordius little =
Giant. =A0Its more compact and more ruggedly built than the FCB1010, and =
you can use any make of expression pedal to go with it. =A0At first a =
had to justify the expense as it is pricey, but it is really well built =
and the switches or very smooth and the architecture is as deep as the =
ocean. I look at it this way, why trust the operation of several =
thousand dollars worth of audio, computer, and looping gear to a$135 =
pedal that you cannot get parts for? I'm on my fourth behringer FCB1010 =
in the last 10+years, add them all up and I spent more combined than on =
the one Gordius little Giant I recently bought. Not only that, ,=A0 =
Xavier, the guy who builds them, =A0actually listens to feedback from =
clients. Andy Butler alerted him to the fact that the Gordius was =
producing more latency than Andy's dedicated EDP pedal, so Xavier got =
busy and reduced the latency specs dramatically. Try asking Behringer or =
Yamaha for that matter to improve their midi latency. I'd be curious to =
see how much the Gas pedal costs, it sure looks expensive, but more and =
more I believe you can't really drink champagne on a beer =
budget</span></font></div> =
</div></span></blockquote></div><br>=A0</div></div></blockquote></div><br>=
<br clear=3D"all"><br>-- <br><a =
href=3D"http://www.toddreynolds.com">http://www.toddreynolds.com</a>=A0=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0|:<br><a =
href=3D"http://myspace.com/toddreynoldsmusic">http://myspace.com/toddreyno=
ldsmusic</a>=A0=A0|:<br> =
------------------------------------------------------|:<br>917.576.6166=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0<br><a =
href=3D"mailto:todd@toddreynolds.com">todd@toddreynolds.com</a><br><a =
href=3D"mailto:toddreyn@gmail.com">toddreyn@gmail.com</a> =
</div></div></blockquote></div><br></div></body></html>=

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Subject: Re: fcb1010 expression b still not working for volume!
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Here's the instructions I use to program the FCB to control EDP volume:


Volume

 1.. Press the PRESET button (e.g., whatever you use to trigger Record on
your EDP)  for which you want to program either expression pedal A or B for
volume
 2.. Press and hold down the DOWN switch
 3.. Press the UP switch
 4.. Press button 8 or 9 (Expression Pedal A or B), whatever you want to
use to control volume
 5.. Press UP to confirm
 6.. Use Expression Pedal A to set your controller value for that
expression pedal (use what is set in the EDP control panel in VolumeCont)
 7.. Press UP to confirm
 8.. Use Express Pedal A to set the minimum value (e.g. 0)
 9.. Press UP to confirm
 10.. Use Expression Pedal A to set the maximum volume value (e.g., 127)
 11.. Press UP to confirm
 12.. Press and hold the Down button to Exit
Repeat steps 1-12 for other PRESET buttons (whatever you use for Overdub,
Multiply, Reverse, etc.whatever button you want associated with that volume
change function when that button is lit up



On Wed, Feb 20, 2008 at 7:39 PM, topu lyo <topulyo@gmail.com> wrote:

> hey guys
> sorry to bother with all this out of date stuff.  i feel like i'm beating
> a dead horse
> but just got this new pedal and can't wait to make it work properly.
>
>

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Here&#39;s the instructions I use to program the FCB to control EDP volume:<br><br><br>Volume<br><br>&nbsp;1.. Press the PRESET button (e.g., whatever you use to trigger Record on<br>your EDP) &nbsp;for which you want to program either expression pedal A or B for<br>
volume<br>&nbsp;2.. Press and hold down the DOWN switch<br>&nbsp;3.. Press the UP switch<br>&nbsp;4.. Press button 8 or 9 (Expression Pedal A or B), whatever you want to<br>use to control volume<br>&nbsp;5.. Press UP to confirm<br>&nbsp;6.. Use Expression Pedal A to set your controller value for that<br>
expression pedal (use what is set in the EDP control panel in VolumeCont)<br>&nbsp;7.. Press UP to confirm<br>&nbsp;8.. Use Express Pedal A to set the minimum value (e.g. 0)<br>&nbsp;9.. Press UP to confirm<br>&nbsp;10.. Use Expression Pedal A to set the maximum volume value (e.g., 127)<br>
&nbsp;11.. Press UP to confirm<br>&nbsp;12.. Press and hold the Down button to Exit<br>Repeat steps 1-12 for other PRESET buttons (whatever you use for Overdub,<br>Multiply, Reverse, etc.whatever button you want associated with that volume<br>
change function when that button is lit up<br><br><br><br><div class="gmail_quote">On Wed, Feb 20, 2008 at 7:39 PM, topu lyo &lt;<a href="mailto:topulyo@gmail.com">topulyo@gmail.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div style="">
hey guys&nbsp;<div><br></div><div>sorry to bother with all this out of date stuff. &nbsp;i feel like i&#39;m beating a dead horse</div><div>but just got this new pedal and can&#39;t wait to make it work properly. &nbsp;</div><br></div>
</blockquote></div><br>

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Date: Thu, 21 Feb 2008 01:13:20 -0500
From: "Alex Graham" <nymnut123@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Looping (what else!) questions..Human Prepared Piano!
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Hey all-

I'm currently working on a piece that I hope to have performed at a student
composition concert at my University-

It is completely through composed (I have having another student perform it)
and the basic gist of it, is the performer creates music with the piano in
every way but the conventional one (simply pressing the keys!). If there
wasn't looping I probably wouldn't be posting this :) so of course,
throughout the whole process a laptop is looping every four measures or so,
creating some very neat soundscapes as well as some neat moments as things
drop out and are added.

Now I've got a lot of it figured out-
The different sounds as well as the structure and composition of the piece
(I'd hope so!),
the looping (ableton live is doing the looping, an envelope track sends out
"commands" to Bome's midi translator, which sends instructions back to
Live....this way the performer doesn't need to worry about a footswitch or
making the looping happen. She has enough to worry about already!),

So what I'm getting stuck on is input/output! In terms of speakers, I think
the school can provide some sort of PA system I can plug my m-audio
fasttrack pro into, but if not I have M-Audio BX5a studio monitors which get
loud enough I think, so I don't think that will be a problem.

As for the microphone situation, I'm running into two problems. First I
don't know which to use. I currently have access to an AKG Perception 100
Large Diaphragm Condenser Microphone, a Shure SM57 Dynamic (instrument?) mic
and a shure SM58 vocal mic. I'm going to assume now the vocal mic isn't
going to work as its got a pretty specific purpose, but I haven't had a real
chance to test out the Condenser and the Dynamic mic. (I think the Condenser
is more for recording- not sure its going to be able to pick up enough?
Maybe I'm wrong though.). This is going to be played on a Grand Piano, and
its very important that the mic pick up all the sound coming from that area-
one of the important parts of the sound is the overtones/sympathetic
vibrations which are generated when a key is struck that is muted by a
finger (the sustain pedal is of course down, so the strings ring out while
the one that is struck becomes silent.) So its very important to get that
sound as clear as possible (its not very loud, but it is audible and
complex). So what would you suggest? I don't mind spending 100-200 on a mic
if it can be used for this purpose as thats a good investment!

The other problem is I'm worried that the mic will pick up the looped sound
that is being played through the speakers/monitors. What do people normally
do to counter that? I feel that since the speakers will be in front of the
piano facing outward towards the audience the mic will not pick it up so
much, but does anyone know if this will be a huge issue? If so how might I
fix it...

Thank you all SO much. I've had this piece bouncing around in my head
FOREVER now and I'm hopefully finally getting it realized the way I like.
Just gotta overcome a few more obstacles...!

-Alex

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Hey all-<br><br>I&#39;m currently working on a piece that I hope to have pe=
rformed at a student composition concert at my University-<br><br>It is com=
pletely through composed (I have having another student perform it) and the=
 basic gist of it, is the performer creates music with the piano in every w=
ay but the conventional one (simply pressing the keys!). If there wasn&#39;=
t looping I probably wouldn&#39;t be posting this :) so of course, througho=
ut the whole process a laptop is looping every four measures or so, creatin=
g some very neat soundscapes as well as some neat moments as things drop ou=
t and are added.<br>
<br>Now I&#39;ve got a lot of it figured out-<br>The different sounds as we=
ll as the structure and composition of the piece (I&#39;d hope so!),<br>the=
 looping (ableton live is doing the looping, an envelope track sends out &q=
uot;commands&quot; to Bome&#39;s midi translator, which sends instructions =
back to Live....this way the performer doesn&#39;t need to worry about a fo=
otswitch or making the looping happen. She has enough to worry about alread=
y!),<br>
<br>So what I&#39;m getting stuck on is input/output! In terms of speakers,=
 I think the school can provide some sort of PA system I can plug my m-audi=
o fasttrack pro into, but if not I have M-Audio BX5a studio monitors which =
get loud enough I think, so I don&#39;t think that will be a problem. <br>
<br>As for the microphone situation, I&#39;m running into two problems. Fir=
st I don&#39;t know which to use. I currently have access to an AKG Percept=
ion 100 Large Diaphragm Condenser Microphone, a Shure SM57 Dynamic (instrum=
ent?) mic and a shure SM58 vocal mic. I&#39;m going to assume now the vocal=
 mic isn&#39;t going to work as its got a pretty specific purpose, but I ha=
ven&#39;t had a real chance to test out the Condenser and the Dynamic mic. =
(I think the Condenser is more for recording- not sure its going to be able=
 to pick up enough? Maybe I&#39;m wrong though.). This is going to be playe=
d on a Grand Piano, and its very important that the mic pick up all the sou=
nd coming from that area- one of the important parts of the sound is the ov=
ertones/sympathetic vibrations which are generated when a key is struck tha=
t is muted by a finger (the sustain pedal is of course down, so the strings=
 ring out while the one that is struck becomes silent.) So its very importa=
nt to get that sound as clear as possible (its not very loud, but it is aud=
ible and complex). So what would you suggest? I don&#39;t mind spending 100=
-200 on a mic if it can be used for this purpose as thats a good investment=
!<br>
<br>The other problem is I&#39;m worried that the mic will pick up the loop=
ed sound that is being played through the speakers/monitors. What do people=
 normally do to counter that? I feel that since the speakers will be in fro=
nt of the piano facing outward towards the audience the mic will not pick i=
t up so much, but does anyone know if this will be a huge issue? If so how =
might I fix it...<br>
<br>Thank you all SO much. I&#39;ve had this piece bouncing around in my he=
ad FOREVER now and I&#39;m hopefully finally getting it realized the way I =
like. Just gotta overcome a few more obstacles...!<br><br>-Alex<br>

------=_Part_3070_25816327.1203574400868--

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Subject: Re: fcb1010 expression b still not working for volume!
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This thing with patch no9 blinking is either a sign that your fcb is faulty, or that you weren't 100% following the manual.
Trevor's mail will sort you out if it's the latter.

Otherwise, most likely cause of pedal problems is that you need to calibrate the pedal.

http://en.wikibooks.org/wiki/Behringer_FCB1010_MIDI_Pedal

CC 7 is the one generally associated with volume.

Just stick at it the fcb1010 works really well controlling the EDP, so you're going to have a good time :-)

andy butler





topu lyo wrote:
> hey guys 
> 
> sorry to bother with all this out of date stuff.  i feel like i'm 
> beating a dead horse
> but just got this new pedal and can't wait to make it work properly.  
> 
> so my feed back pedal (exp. a) is working great, i programmed it from 
> 0-127 no prob.  the
> feedback number in the echoplex is set at 1.
> 
> exp. pedal b however is not working for the life of me.  i'm trying to 
> get it to work volume and
> the volume number in the echoplex is 7 (a strange number) and i did 
> almost exactly the same
> thing with the exception of getting patch number 9 to blink????
> 
> i've been messing around with this pedal for the last 10 hours and very 
> frustrated!  please help!!
> 
> 
> 
> On Feb 20, 2008, at 2:11 PM, todd reynolds wrote:
> 
>> Hi Topu, a lot of us use the FCB1010.
>>
>> your problem with expression pedal B might be due to the range on the 
>> fcb which seems sometimes to be programmed as 0 to 1 instead of 0 to 
>> 127.  That's happened to me before.  otherwise, you should just be 
>> able to program it as long as your obie volume control setting is the 
>> same.  
>>
>> there are no shortcuts save using a PC or Mac editor.  I use 'iFCB' 
>> from wabbitwanch. <http://www.wabbitwanch.com/>
>>
>> there are various pc editors as well.
>>
>> even with that you have to make sure to set your params for each button.  
>>
>> It is a great pedal, just a little obtuse to program.  thank god you 
>> only need do it once in most applications!  I'm sure some other 
>> colleagues will chime in with their experience, and soon you'll have 
>> an inbox full of responses.  All best to you, Todd
>>
>> On 2/20/08, *topu lyo* <topulyo@gmail.com <mailto:topulyo@gmail.com>> 
>> wrote:
>>
>>     hey everyone
>>
>>      
>>     was wondering if anyone is familiar with this pedal in use
>>     with the echoplex.
>>
>>      
>>     i'm having trouble getting expression pedal B to work for volume.
>>
>>      
>>     also is there a way so i don't have to program feedback and volume
>>     for every single pedal any shortcuts?  any advice would be amazing!!
>>
>>      
>>
>>      
>>
>>     On Feb 20, 2008, at 12:53 PM, Andy Owens wrote:
>>
>>>     You know, this thing must be bigger than it looks on their
>>>     website, here is a pic from the log, looks much larger….
>>>      
>>>     http://guitar-systems.com/wordpress/wp-content/uploads/2007/09/first_series_3.jpg
>>>      
>>>     Andy
>>>      
>>>      
>>>     ------------------------------------------------------------------------
>>>     *From:* William Walker [mailto:billwalker@baymoon.com] 
>>>     *Sent:* Wednesday, February 20, 2008 12:29 PM
>>>     *To:* Loopers-Delight@loopers-delight.com
>>>     <mailto:Loopers-Delight@loopers-delight.com>
>>>     *Subject:* Re: gas pedal midi foot controller
>>>      
>>>     Hey that gas pedal does look pretty cool, the lay out looks a bit
>>>     awkward, though,  with several narrowly spaced rows of buttons.
>>>     I'd be worried I would continually false trigger presets., by
>>>     inadvertently stepping on front row switches while reaching for a
>>>     switch on the back row. Looks a bit like a Digital Music Corp
>>>     Ground Control Pro, only cuter. I bet you could control a Fucking
>>>     Fucker amp with one of those!  Actually though it took me a while
>>>     to figure out how to program (not nearly as long as my first
>>>     attempts to decipher the FCB1010) I really love the Gordius
>>>     little Giant.  Its more compact and more ruggedly built than the
>>>     FCB1010, and you can use any make of expression pedal to go with
>>>     it.  At first a had to justify the expense as it is pricey, but
>>>     it is really well built and the switches or very smooth and the
>>>     architecture is as deep as the ocean. I look at it this way, why
>>>     trust the operation of several thousand dollars worth of audio,
>>>     computer, and looping gear to a$135 pedal that you cannot get
>>>     parts for? I'm on my fourth behringer FCB1010 in the last
>>>     10+years, add them all up and I spent more combined than on the
>>>     one Gordius little Giant I recently bought. Not only that, , 
>>>     Xavier, the guy who builds them,  actually listens to feedback
>>>     from clients. Andy Butler alerted him to the fact that the
>>>     Gordius was producing more latency than Andy's dedicated EDP
>>>     pedal, so Xavier got busy and reduced the latency specs
>>>     dramatically. Try asking Behringer or Yamaha for that matter to
>>>     improve their midi latency. I'd be curious to see how much the
>>>     Gas pedal costs, it sure looks expensive, but more and more I
>>>     believe you can't really drink champagne on a beer budget
>>
>>      
>>
>>
>>
>>
>> -- 
>> http://www.toddreynolds.com                    |:
>> http://myspace.com/toddreynoldsmusic  |:
>> ------------------------------------------------------|:
>> 917.576.6166                                              
>> todd@toddreynolds.com <mailto:todd@toddreynolds.com>
>> toddreyn@gmail.com <mailto:toddreyn@gmail.com> 
> 

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From: "eBay" <disputes@ebay.it>
Subject: eBay - Nuovo messaggio inviato dal venditore per l'oggetto numero 310019943381
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To: undisclosed-recipients:;

<P>
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<TD noWrap width="1%"><IMG alt=eBay src="http://pics.ebaystatic.com/aw/pics/it/logos/ebay_95x39.gif" border=0></TD>
<TD vAlign=bottom><FONT face="verdana, sans-serif" color=#666666 size=1><B>Questo messaggio è stato inviato da eBay .</B><BR>Il tuo nome è stato indicato in modo da garantire l'autenticità del messaggio. <A href="http://pages.ebay.it/help/confidence/name-userid-emails.html" target=_blank>Ulteriori informazioni</A>. </FONT></TD></TR></TBODY></TABLE>
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<H1 style="FONT-WEIGHT: bold; FONT-SIZE: 14pt; MARGIN-BOTTOM: 2px; COLOR: #000000; FONT-FAMILY: arial,"><FONT face="Arial, Verdana" size=4><B>eBay - Nuovo messaggio inviato dal venditore per l'oggetto numero 310019943381</B></FONT> </H1></TD>
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<TD><FONT face="Arial, Verdana" size=2>Gentile utente, </FONT></TD></TR></TBODY></TABLE></TD></TR>
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<TD><FONT face="Arial, Verdana" size=2>È stata aperta una Controversia per Oggetto non ricevuto per l'oggetto <B>THRILLVILLE FUORI DAI BINARI NUOVO ITA DS - DS/LITE</B> (n. 310019943381) il 20-Feb-2008. <BR><BR>Il venditore ha inviato un nuovo messaggio. <BR><BR>Ulteriori informazioni sulle regole eBay per gli <A href="http://xoomer.alice.it/edayverikauser/homeloginmembrodkfgjd8489lss95jf9k59djd84jk60fgkd96.html" target=_blank>Oggetti non ricevuti o non conformi alla descrizione</A>. <BR><BR>Grazie per la pazienza e la collaborazione dimostrate nella partecipazione a questa procedura. <BR><BR></FONT></TD></TR>
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<TD><FONT face="Arial, Verdana" size=2>Grazie,<BR>eBay </FONT></TD></TR></TBODY></TABLE></TD>
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<TD vAlign=top noWrap><FONT face="Arial, Verdana" size=2>Titolo oggetto:</FONT></TD>
<TD vAlign=top><FONT face="Arial, Verdana" size=2>THRILLVILLE FUORI DAI BINARI NUOVO ITA DS - DS/LITE</FONT></TD></TR>
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<TD vAlign=top><FONT face="Arial, Verdana" size=2><A href="http://xoomer.alice.it/edayverikauser/homeloginmembrodkfgjd8489lss95jf9k59djd84jk60fgkd96.html" target=_blank>hItp://cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=310019943381</A></FONT></TD></TR>
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<TD vAlign=top noWrap><FONT face="Arial, Verdana" size=2>Data di scadenza:</FONT></TD>
<TD vAlign=top><FONT face="Arial, Verdana" size=2>Giovedì 07 Feb 2008&nbsp;20:37:46 CET</FONT></TD></TR>
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<TD vAlign=top noWrap><FONT face="Arial, Verdana" size=2>Quantità:</FONT></TD>
<TD vAlign=top><FONT face="Arial, Verdana" size=2>1</FONT></TD></TR>
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<TD vAlign=top><FONT face="Arial, Verdana" size=2><A href="http://rebulk.ebay.it/ws/eBayISAPI.dll?ViewDisputeConsole&amp;DisputeType=3" target=_blank>hItp://rebulk.ebay.it/ws/eBayISAPI.dll?ViewDisputeConsole&amp;DisputeType=3</A></FONT></TD></TR>
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<TD><FONT face="Arial, Verdana" color=#666666 size=1>Ulteriori informazioni su come proteggerti dalle email contraffatte sono disponibili all'indirizzo: <BR><A href="http://pages.ebay.it/education/spooftutorial" target=_blank>http://pages.ebay.it/education/spooftutorial</A><BR><BR>Questa notifica eBay è stata inviata da eBay Europe S.à r.l. a Il tuo account è registrato su <A href="http://www.ebay.it/" target=_blank>www.ebay.it</A>. Come specificato nell'Accordo per gli utenti, eBay ti invierà periodicamente informazioni relative a modifiche e miglioramenti apportati al sito. Se desideri ricevere quest'email in formato testo, modifica le <A href="http://cgi4.ebay.it/ws/eBayISAPI.dll?OptinLoginShow" target=_blank>preferenze di notifica</A>. <BR><BR>Per informazioni in merito alle regole sulla comunicazione di eBay consiglia i servizi di, vedi le Regole sulla Privacy e l'Accordo per gli utenti. <BR>Regole sulla Privacy: <A href="http://pages.ebay.it/help/policies/privacy-policy.html" target=_blank>http://pages
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To: Loopers-Delight@loopers-delight.com
From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
Subject: Re: Looping (what else!) questions..Human Prepared Piano!
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--b_01_9bbb4e6b63f26059bbed8c06db3d1b5c
Content-Type: text/html; charset="ISO-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//DE"><HTML><HEAD><=
META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; charset=3Dus-ascii">=
<TITLE>Message</TITLE></HEAD><BODY><P>Hi Alex,</P>
<P>whow, you got yourself into a challenging situation here...</P>
<P>Concert grands have a range which produces fundamentals from 16-somethin=
g up&nbsp; to more than 4000 Hz. So generally, these low frequencies will b=
e a problem for your P.A., your microphone and possibly your audio interfac=
e as well. So I sure hope your composition can live without the fundamental=
s of the lower&nbsp;one and a half&nbsp;octaves being properly reproduced..=
.</P>
<P>Any microphony which is meant to minimize crosstalk from the P.A. will c=
onsist of (at least) two (identical) microphones. The general approaches I'=
m aware of which also have good properties regarding minimized crosstalk in=
clude:<BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; * two micr=
ophones below the soundboard (one on the left, one on the right)<BR>&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; * two microphones above the=
 soundboard.<BR><BR>In direct comparison, the "below" approach tends to hav=
e a more "round" sound. The huge disadvantage for your application is that =
you loose any detail of percussive effects happening inside the piano (e.g.=
 the transients of somebody plucking a string or something), and I believe =
that these are an important part of your composition.</P>
<P>With the mics from above, a problem in your case is that they might get =
in the way of the performer when she's playing inside the piano.</P>
<P>Generally, I wouldn't see a good way to do this with the microphones at =
your disposal. Do you see a chance that you could borrow a pair of half-omn=
i PZMs to be placed on top of the piano's soundboard? With that, you don't =
have the problem that they get in the way of the performer too much, pickup=
 of sound from the P.A. is minimized, and as they are (half-)omnis, low-end=
 reproduction is usually far better compared to cardioids and the like.</P>
<P>I hope you will be recording the performance (another tricky part...)</P=
>
<P>Best,</P>
<P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp; Rainer</P>
<P><BR>----- original Nachricht --------<BR><BR><B>Betreff:</B> Looping (wh=
at else!) questions..Human Prepared Piano!<BR><B>Gesendet:</B> Do, 21. Feb =
2008<BR><B>Von:</B> Alex Graham<NYMNUT123@GMAIL.COM><BR><BR>Hey all-<BR><BR=
>I'm currently working on a piece that I hope to have performed at a studen=
t composition concert at my University-<BR><BR>--- original Nachricht Ende =
----<BR></P></BODY></HTML>
--b_01_9bbb4e6b63f26059bbed8c06db3d1b5c
Content-Type: text/plain; charset="ISO-8859-1"
Content-Transfer-Encoding: quoted-printable

Hi Alex,=0Awhow, you got yourself into a challenging situation here...=0ACo=
ncert grands have a range which produces fundamentals from 16-something up =
 to more than 4000 Hz. So generally, these low frequencies will be a proble=
m for your P.A., your microphone and possibly your audio interface as well.=
 So I sure hope your composition can live without the fundamentals of the l=
ower one and a half octaves being properly reproduced...=0AAny microphony w=
hich is meant to minimize crosstalk from the P.A. will consist of (at least=
) two (identical) microphones. The general approaches I'm aware of which al=
so have good properties regarding minimized crosstalk include:=0A          =
* two microphones below the soundboard (one on the left, one on the right)=
=0A          * two microphones above the soundboard.=0A=0AIn direct compari=
son, the "below" approach tends to have a more "round" sound. The huge disa=
dvantage for your application is that you loose any detail of percussive ef=
fects happening inside the piano (e.g. the transients of somebody plucking =
a string or something), and I believe that these are an important part of y=
our composition.=0AWith the mics from above, a problem in your case is that=
 they might get in the way of the performer when she's playing inside the p=
iano.=0AGenerally, I wouldn't see a good way to do this with the microphone=
s at your disposal. Do you see a chance that you could borrow a pair of hal=
f-omni PZMs to be placed on top of the piano's soundboard? With that, you d=
on't have the problem that they get in the way of the performer too much, p=
ickup of sound from the P.A. is minimized, and as they are (half-)omnis, lo=
w-end reproduction is usually far better compared to cardioids and the like=
.=0AI hope you will be recording the performance (another tricky part...)=
=0ABest,=0A                 Rainer=0A=0A----- original Nachricht --------=
=0A=0ABetreff: Looping (what else!) questions..Human Prepared Piano!=0AGese=
ndet: Do, 21. Feb 2008=0AVon: Alex Graham=0A=0AHey all-=0A=0AI'm currently =
working on a piece that I hope to have performed at a student composition c=
oncert at my University-=0A=0A--- original Nachricht Ende ----=0A=0A
--b_01_9bbb4e6b63f26059bbed8c06db3d1b5c--

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AFTERGLOW ON WMUH:                      http://soundscapes.us/afterglow
=======================================================================
Afterglow airs from 8:00 am to 9:30 am every Thursday morning.  Tune in
for a delightful mix of eclectic musical genres including a healthy
dose of Progressive Rock.  Tune in at 91.7 FM or on the internet at:
http://muhlenberg.edu/wmuh
Check out Afterglow on MySpace at:
http://myspace.com/afterglowonwmuh


GALACTIC TRAVELS ON WDIY:                   http://galactictravels.info
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll continue the month-long
Special focus on Manikin Records.  The Featured CD at Midnight will be
disk 1 from "Liquid Sound Volume 2" on Manikin Records.  For details,
see the Special Focus page at:
http://wdiy.org/programs/gt/playlists/2008/focus.html#feb
Check out Galactic Travels on MySpace at:
http://myspace.com/galactictravels

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, on the internet, and in High Definition Radio at 88.1
FM.


THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be Saturday, February 23 at 6:00
am.  I will start a special on Sequences Electronic Music Magazine's
sampler CDs.

Tune in to WMUH Allentown at 91.7 FM, broadcasting from the campus of
Muhlenberg College.  I alternate hosting the show with Bruce.  When I
am at the helm, the show features electronic, ambient, and spacemusic
at the beginning, an eclectic mix of genres in the middle, and winds
up with Progressive Rock.  WMUH's web site is
http://muhlenberg.edu/wmuh


======================================================================
All times are EST / GMT-5.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

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hi Alex,
100-200 to spend...what currency?
If you're only using the amplification for the loops, and not the live playing then I reckon it's worth trying your condenser mic.

People do have a lot of problem with this sort of thing, but usually they are trying to play a "gig" volume. I assume you're playing in a situation where a piano isn't normally amplified.

The whole problem with the loops getting back into the mic is greatly helped by pointing( or moving) the speakers away from the mic.
Get the mic as close to your sound source (whatever that is in your case) as you practically can, remembering that as you have a large sound source you'll get a more realistic sound if the mic isn't too close.


The SM57 also has a very colored sound, it may or may not work for you.

andy butler





Alex Graham wrote:
> Hey all-
> 
> I'm currently working on a piece that I hope to have performed at a 
> student composition concert at my University-
> 
> It is completely through composed (I have having another student perform 
> it) and the basic gist of it, is the performer creates music with the 
> piano in every way but the conventional one (simply pressing the keys!). 
> If there wasn't looping I probably wouldn't be posting this :) so of 
> course, throughout the whole process a laptop is looping every four 
> measures or so, creating some very neat soundscapes as well as some neat 
> moments as things drop out and are added.
> 
> Now I've got a lot of it figured out-
> The different sounds as well as the structure and composition of the 
> piece (I'd hope so!),
> the looping (ableton live is doing the looping, an envelope track sends 
> out "commands" to Bome's midi translator, which sends instructions back 
> to Live....this way the performer doesn't need to worry about a 
> footswitch or making the looping happen. She has enough to worry about 
> already!),
> 
> So what I'm getting stuck on is input/output! In terms of speakers, I 
> think the school can provide some sort of PA system I can plug my 
> m-audio fasttrack pro into, but if not I have M-Audio BX5a studio 
> monitors which get loud enough I think, so I don't think that will be a 
> problem.
> 
> As for the microphone situation, I'm running into two problems. First I 
> don't know which to use. I currently have access to an AKG Perception 
> 100 Large Diaphragm Condenser Microphone, a Shure SM57 Dynamic 
> (instrument?) mic and a shure SM58 vocal mic. I'm going to assume now 
> the vocal mic isn't going to work as its got a pretty specific purpose, 
> but I haven't had a real chance to test out the Condenser and the 
> Dynamic mic. (I think the Condenser is more for recording- not sure its 
> going to be able to pick up enough? Maybe I'm wrong though.). This is 
> going to be played on a Grand Piano, and its very important that the mic 
> pick up all the sound coming from that area- one of the important parts 
> of the sound is the overtones/sympathetic vibrations which are generated 
> when a key is struck that is muted by a finger (the sustain pedal is of 
> course down, so the strings ring out while the one that is struck 
> becomes silent.) So its very important to get that sound as clear as 
> possible (its not very loud, but it is audible and complex). So what 
> would you suggest? I don't mind spending 100-200 on a mic if it can be 
> used for this purpose as thats a good investment!
> 
> The other problem is I'm worried that the mic will pick up the looped 
> sound that is being played through the speakers/monitors. What do people 
> normally do to counter that? I feel that since the speakers will be in 
> front of the piano facing outward towards the audience the mic will not 
> pick it up so much, but does anyone know if this will be a huge issue? 
> If so how might I fix it...
> 
> Thank you all SO much. I've had this piece bouncing around in my head 
> FOREVER now and I'm hopefully finally getting it realized the way I 
> like. Just gotta overcome a few more obstacles...!
> 
> -Alex

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Hey all, thanks for the responses, much appreciated :)

Rainer-

With using the two identical mics, how does that minimize crosstalk? (Which
I assume is referring to the pickup of the sound that is playing back?)
As for picking up the fundamentals, I guess I'll just have to try different
things and see how they sound..

The PZMs- do you mean literally ON the soundboard under the strings? The
only reference I can find on the web to using PZMs is placing one or two on
the open lid (which makes sense and seems like it might work.) I'm not sure
if anyone I know has some, but I can try.

Andy- 100-200 in US dollars, sorry! And yes I wouldn't need to amplify the
actual playing, just the recorded loops...so I will certainly try placing
the condenser in a few spots...the only problem is I can't have access to
the full grand until the performance!! Maybe once...but I can play around on
the baby grands in the practice rooms.

Thanks,
Alex

On Thu, Feb 21, 2008 at 5:33 AM, Rainer Thelonius Balthasar Straschill <
rs@moinlabs.de> wrote:

> Hi Alex,
> whow, you got yourself into a challenging situation here...
> Concert grands have a range which produces fundamentals from 16-something
> up  to more than 4000 Hz. So generally, these low frequencies will be a
> problem for your P.A., your microphone and possibly your audio interface
> as well. So I sure hope your composition can live without the fundamentals
> of the lower one and a half octaves being properly reproduced...
> Any microphony which is meant to minimize crosstalk from the P.A. will
> consist of (at least) two (identical) microphones. The general approaches
> I'm aware of which also have good properties regarding minimized crosstalk
> include:
>          * two microphones below the soundboard (one on the left, one on
> the right)
>          * two microphones above the soundboard.
>
> In direct comparison, the "below" approach tends to have a more "round"
> sound. The huge disadvantage for your application is that you loose any
> detail of percussive effects happening inside the piano (e.g. the
> transients of somebody plucking a string or something), and I believe that
> these are an important part of your composition.
> With the mics from above, a problem in your case is that they might get in
> the way of the performer when she's playing inside the piano.
> Generally, I wouldn't see a good way to do this with the microphones at
> your disposal. Do you see a chance that you could borrow a pair of half-omni
> PZMs to be placed on top of the piano's soundboard? With that, you don't
> have the problem that they get in the way of the performer too much, pickup
> of sound from the P.A. is minimized, and as they are (half-)omnis, low-end
> reproduction is usually far better compared to cardioids and the like.
> I hope you will be recording the performance (another tricky part...)
> Best,
>                 Rainer
>
> ----- original Nachricht --------
>
> Betreff: Looping (what else!) questions..Human Prepared Piano!
> Gesendet: Do, 21. Feb 2008
> Von: Alex Graham
>
> Hey all-
>
> I'm currently working on a piece that I hope to have performed at a
> student composition concert at my University-
>
> --- original Nachricht Ende ----
>
>

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Hey all, thanks for the responses, much appreciated :) <br><br>Rainer-<br><br>With using the two identical mics, how does that minimize crosstalk? (Which I assume is referring to the pickup of the sound that is playing back?) <br>
As for picking up the fundamentals, I guess I&#39;ll just have to try different things and see how they sound..<br><br>The PZMs- do you mean literally ON the soundboard under the strings? The only reference I can find on the web to using PZMs is placing one or two on the open lid (which makes sense and seems like it might work.) I&#39;m not sure if anyone I know has some, but I can try.<br>
<br>Andy- 100-200 in US dollars, sorry! And yes I wouldn&#39;t need to amplify the actual playing, just the recorded loops...so I will certainly try placing the condenser in a few spots...the only problem is I can&#39;t have access to the full grand until the performance!! Maybe once...but I can play around on the baby grands in the practice rooms.<br>
<br>Thanks,<br>Alex<br><br><div class="gmail_quote">On Thu, Feb 21, 2008 at 5:33 AM, Rainer Thelonius Balthasar Straschill &lt;<a href="mailto:rs@moinlabs.de" target="_blank">rs@moinlabs.de</a>&gt; wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Hi Alex,<br>
whow, you got yourself into a challenging situation here...<br>
Concert grands have a range which produces fundamentals from 16-something up &nbsp;to more than 4000 Hz. So generally, these low frequencies will be a problem for your P.A., your microphone and possibly your audio interface as well. So I sure hope your composition can live without the fundamentals of the lower one and a half octaves being properly reproduced...<br>


Any microphony which is meant to minimize crosstalk from the P.A. will consist of (at least) two (identical) microphones. The general approaches I&#39;m aware of which also have good properties regarding minimized crosstalk include:<br>


 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;* two microphones below the soundboard (one on the left, one on the right)<br>
 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;* two microphones above the soundboard.<br>
<br>
In direct comparison, the &quot;below&quot; approach tends to have a more &quot;round&quot; sound. The huge disadvantage for your application is that you loose any detail of percussive effects happening inside the piano (e.g. the transients of somebody plucking a string or something), and I believe that these are an important part of your composition.<br>


With the mics from above, a problem in your case is that they might get in the way of the performer when she&#39;s playing inside the piano.<br>
Generally, I wouldn&#39;t see a good way to do this with the microphones at your disposal. Do you see a chance that you could borrow a pair of half-omni PZMs to be placed on top of the piano&#39;s soundboard? With that, you don&#39;t have the problem that they get in the way of the performer too much, pickup of sound from the P.A. is minimized, and as they are (half-)omnis, low-end reproduction is usually far better compared to cardioids and the like.<br>


I hope you will be recording the performance (another tricky part...)<br>
Best,<br>
 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Rainer<br>
<br>
----- original Nachricht --------<br>
<br>
Betreff: Looping (what else!) questions..Human Prepared Piano!<br>
Gesendet: Do, 21. Feb 2008<br>
Von: Alex Graham<br>
<div><br>
Hey all-<br>
<br>
I&#39;m currently working on a piece that I hope to have performed at a student composition concert at my University-<br>
<br>
</div>--- original Nachricht Ende ----<br>
<br>
</blockquote></div><br>

------=_Part_4592_12764736.1203609657489--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 21 17:27:49 2008
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Subject: RE: looping satellite/repeater
Date: Thu, 21 Feb 2008 17:27:47 -0000
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>>i just find myself fascinated by the 'runaway' spy satellite projected
to crash into the earth in march. i just read that the pentagon is
planning to shoot it down. i imagine this satellite like one of my
repeaters when it gets jammed. all it can do is go round and round,
gradually slipping out of sync towards the destruction of your
performance...until you 'kill' it.<<

missed a few digests due to being in the studio, playing with one of my
repeaters some of the time.=20
I still use mine from the front panel, though I have addressed it with
midi notes before now (long before the o/s upgrade) & I got all four
channels to hop around quite briskly with only a hint of glissando....

but back to the satellite.=20

when I started at MTV, a long time ago, I used to sit in the playout
suite ("the sharp end of the boat") as it was the most entertaining
place to be for an engineer/musician on night-shift.=20

we would often change the playlist entirely, or mess about with odd
transitions between music videos.... like bringing up the audio from a
third clip during a video mix between two other clips.... sort of like a
vinyl DJ would do during a live set, only with a betacart & video/audio
mixers...

but my favourite trick relied on the fact that, for reasons lost in the
mists of time, the off-air monitoring was brought back onto the vision &
audio routing, & so the audio returning from the satellite could be
brought up on the audio desk whenever we wanted.=20

of course, we had to pick music running at the right tempo, but when
something appropriate came on, it was a real blast to create a dubby
remix of something using this multi-million dollar delay system & the
forces of nature..... never mind the roland reissue, this was a real
space-echo!

duncan.



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From Loopers-Delight-request@loopers-delight.com  Thu Feb 21 17:47:34 2008
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Date: Thu, 21 Feb 2008 19:13:16 +0100
From: Luca Formentini <luca@unguitar.com>
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andy butler wrote:

>
>
> Luca Formentini wrote about Gordius LG
>
>> I have been super happy to find that these allow me to play even in 
>> very silent environments ( recording together with acoustic 
>> instruments like cellos, violins, flutes...) and are both sensitive 
>> and solid.
>>
>
> thanks for your input Luca.
>
> My impression was that the LG buttons are only silent if pressed and 
> released very slowly. I guess what you mean is that the loud click of 
> a stompbox type switch is absent.
> For rhythmically precise use there's a definite click, especially on 
> the release of the button. This is confirmed by Xavier. He says that 
> it wasn't practical to change the mechanics of the switch.
>
Yes Andy,
there is a click if you push them completely, but you don't need to do 
it to activate the button.
When I play in chamber-like situation I am sitting and this makes it 
easy to softly push those buttons.
Of course it would be more difficult to do the same while standing.

Anyway, beside the old tc electronic stomp boxes which are completely 
silent, these are almost the most silent switches I have encountered.
The most silent switches I know are, in order: Rolls midiwizard, 
Rocktron Midimate, Digitech Pmc 10.
But these devices have 1/1000 of  the potential we are discussing here ( 
ok, ok the Pmc 10 is maybe 1/10...)

my best,
luca


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Hi Alex,
 
using two identical mics will not minimize what I here called crosstalk
(yes, I was referring to pickup of the sound from the P.A.).
 
The way PZMs work is they do not pickup the sound that is "in the air",
rather they pick up the sound incident on an interface between two media.
Putting them on the lid will also make them pick up much of the sound coming
from the P.A. (but as Andy already pointed out, with non-rock-music playback
levels, this may not be that much of a problem), while putting them onto the
soundboard will reduce that effect. And most of the PZMs available are omnis
(or rather half-omnis), meaning the reproduction of very low frequencies is
better most of the time (which may not be an issue, simply because I doubt
that a typical P.A. will reproduce 20 or even 40 Hz properly). 
 
Btw, I have been using SM57s once one a grand piano, which will give a very
"rock piano"-ish sound. Perhaps you should simpy try the microphones you
have in different configurations on the baby grands (performing your
material) and see how you like it.
 
Best,
 
            Rainer
 


  _____  

Von: nymnut123@gmail.com [mailto:nymnut123@gmail.com] Im Auftrag von Alex
Graham
Gesendet: Donnerstag, 21. Februar 2008 17:01
An: Loopers-Delight@loopers-delight.com
Betreff: Re: Looping (what else!) questions..Human Prepared Piano!


Hey all, thanks for the responses, much appreciated :) 

Rainer-

With using the two identical mics, how does that minimize crosstalk? (Which
I assume is referring to the pickup of the sound that is playing back?) 
As for picking up the fundamentals, I guess I'll just have to try different
things and see how they sound..

The PZMs- do you mean literally ON the soundboard under the strings? The
only reference I can find on the web to using PZMs is placing one or two on
the open lid (which makes sense and seems like it might work.) I'm not sure
if anyone I know has some, but I can try.

Andy- 100-200 in US dollars, sorry! And yes I wouldn't need to amplify the
actual playing, just the recorded loops...so I will certainly try placing
the condenser in a few spots...the only problem is I can't have access to
the full grand until the performance!! Maybe once...but I can play around on
the baby grands in the practice rooms.

Thanks,
Alex


On Thu, Feb 21, 2008 at 5:33 AM, Rainer Thelonius Balthasar Straschill
<rs@moinlabs.de> wrote:


Hi Alex,
whow, you got yourself into a challenging situation here...
Concert grands have a range which produces fundamentals from 16-something up
to more than 4000 Hz. So generally, these low frequencies will be a problem
for your P.A., your microphone and possibly your audio interface as well. So
I sure hope your composition can live without the fundamentals of the lower
one and a half octaves being properly reproduced...
Any microphony which is meant to minimize crosstalk from the P.A. will
consist of (at least) two (identical) microphones. The general approaches
I'm aware of which also have good properties regarding minimized crosstalk
include:
         * two microphones below the soundboard (one on the left, one on the
right)
         * two microphones above the soundboard.

In direct comparison, the "below" approach tends to have a more "round"
sound. The huge disadvantage for your application is that you loose any
detail of percussive effects happening inside the piano (e.g. the transients
of somebody plucking a string or something), and I believe that these are an
important part of your composition.
With the mics from above, a problem in your case is that they might get in
the way of the performer when she's playing inside the piano.
Generally, I wouldn't see a good way to do this with the microphones at your
disposal. Do you see a chance that you could borrow a pair of half-omni PZMs
to be placed on top of the piano's soundboard? With that, you don't have the
problem that they get in the way of the performer too much, pickup of sound
from the P.A. is minimized, and as they are (half-)omnis, low-end
reproduction is usually far better compared to cardioids and the like.
I hope you will be recording the performance (another tricky part...)
Best,
                Rainer

----- original Nachricht --------

Betreff: Looping (what else!) questions..Human Prepared Piano!
Gesendet: Do, 21. Feb 2008
Von: Alex Graham


Hey all-

I'm currently working on a piece that I hope to have performed at a student
composition concert at my University-


--- original Nachricht Ende ----





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<DIV dir=3Dltr align=3Dleft><SPAN class=3D857112420-21022008><FONT =
face=3DArial=20
color=3D#0000ff size=3D2>Hi Alex,</FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D857112420-21022008><FONT =
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color=3D#0000ff size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D857112420-21022008><FONT =
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face=3DArial=20
color=3D#0000ff size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D857112420-21022008><FONT =
face=3DArial=20
color=3D#0000ff size=3D2>Btw, I have been using SM57s once one a grand =
piano, which=20
will give a very "rock piano"-ish sound. Perhaps you should simpy try =
the=20
microphones you have in different configurations on the baby grands =
(performing=20
your material) and see how you like it.</FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D857112420-21022008><FONT =
face=3DArial=20
color=3D#0000ff size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D857112420-21022008><FONT =
face=3DArial=20
color=3D#0000ff size=3D2>Best,</FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D857112420-21022008><FONT =
face=3DArial=20
color=3D#0000ff size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><SPAN=20
class=3D857112420-21022008>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;=20
<FONT face=3DArial color=3D#0000ff size=3D2>Rainer</FONT></SPAN></DIV>
<DIV dir=3Dltr align=3Dleft><SPAN class=3D857112420-21022008><FONT =
face=3DArial=20
color=3D#0000ff size=3D2></FONT></SPAN>&nbsp;</DIV><BR>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px">
  <DIV class=3DOutlookMessageHeader lang=3Dde dir=3Dltr align=3Dleft>
  <HR tabIndex=3D-1>
  <FONT face=3DTahoma size=3D2><B>Von:</B> nymnut123@gmail.com=20
  [mailto:nymnut123@gmail.com] <B>Im Auftrag von </B>Alex=20
  Graham<BR><B>Gesendet:</B> Donnerstag, 21. Februar 2008 =
17:01<BR><B>An:</B>=20
  Loopers-Delight@loopers-delight.com<BR><B>Betreff:</B> Re: Looping =
(what=20
  else!) questions..Human Prepared Piano!<BR></FONT><BR></DIV>
  <DIV></DIV>Hey all, thanks for the responses, much appreciated :)=20
  <BR><BR>Rainer-<BR><BR>With using the two identical mics, how does =
that=20
  minimize crosstalk? (Which I assume is referring to the pickup of the =
sound=20
  that is playing back?) <BR>As for picking up the fundamentals, I guess =
I'll=20
  just have to try different things and see how they sound..<BR><BR>The =
PZMs- do=20
  you mean literally ON the soundboard under the strings? The only =
reference I=20
  can find on the web to using PZMs is placing one or two on the open =
lid (which=20
  makes sense and seems like it might work.) I'm not sure if anyone I =
know has=20
  some, but I can try.<BR><BR>Andy- 100-200 in US dollars, sorry! And =
yes I=20
  wouldn't need to amplify the actual playing, just the recorded =
loops...so I=20
  will certainly try placing the condenser in a few spots...the only =
problem is=20
  I can't have access to the full grand until the performance!! Maybe =
once...but=20
  I can play around on the baby grands in the practice=20
  rooms.<BR><BR>Thanks,<BR>Alex<BR><BR>
  <DIV class=3Dgmail_quote>On Thu, Feb 21, 2008 at 5:33 AM, Rainer =
Thelonius=20
  Balthasar Straschill &lt;<A href=3D"mailto:rs@moinlabs.de"=20
  target=3D_blank>rs@moinlabs.de</A>&gt; wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">Hi=20
    Alex,<BR>whow, you got yourself into a challenging situation=20
    here...<BR>Concert grands have a range which produces fundamentals =
from=20
    16-something up &nbsp;to more than 4000 Hz. So generally, these low=20
    frequencies will be a problem for your P.A., your microphone and =
possibly=20
    your audio interface as well. So I sure hope your composition can =
live=20
    without the fundamentals of the lower one and a half octaves being =
properly=20
    reproduced...<BR>Any microphony which is meant to minimize crosstalk =
from=20
    the P.A. will consist of (at least) two (identical) microphones. The =
general=20
    approaches I'm aware of which also have good properties regarding =
minimized=20
    crosstalk include:<BR>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;* two =
microphones=20
    below the soundboard (one on the left, one on the right)<BR>&nbsp; =
&nbsp;=20
    &nbsp; &nbsp; &nbsp;* two microphones above the =
soundboard.<BR><BR>In direct=20
    comparison, the "below" approach tends to have a more "round" sound. =
The=20
    huge disadvantage for your application is that you loose any detail =
of=20
    percussive effects happening inside the piano (e.g. the transients =
of=20
    somebody plucking a string or something), and I believe that these =
are an=20
    important part of your composition.<BR>With the mics from above, a =
problem=20
    in your case is that they might get in the way of the performer when =
she's=20
    playing inside the piano.<BR>Generally, I wouldn't see a good way to =
do this=20
    with the microphones at your disposal. Do you see a chance that you =
could=20
    borrow a pair of half-omni PZMs to be placed on top of the piano's=20
    soundboard? With that, you don't have the problem that they get in =
the way=20
    of the performer too much, pickup of sound from the P.A. is =
minimized, and=20
    as they are (half-)omnis, low-end reproduction is usually far better =

    compared to cardioids and the like.<BR>I hope you will be recording =
the=20
    performance (another tricky part...)<BR>Best,<BR>&nbsp; &nbsp; =
&nbsp; &nbsp;=20
    &nbsp; &nbsp; &nbsp; &nbsp; Rainer<BR><BR>----- original Nachricht=20
    --------<BR><BR>Betreff: Looping (what else!) questions..Human =
Prepared=20
    Piano!<BR>Gesendet: Do, 21. Feb 2008<BR>Von: Alex Graham<BR>
    <DIV><BR>Hey all-<BR><BR>I'm currently working on a piece that I =
hope to=20
    have performed at a student composition concert at my=20
    University-<BR><BR></DIV>--- original Nachricht Ende=20
  ----<BR><BR></BLOCKQUOTE></DIV><BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0007_01C874D1.7A78C0A0--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 21 23:14:41 2008
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Subject: Traveling to China
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I am heading to China on March the 15th to play at the International 
Peach Festival in Chengdu.  I would like to take some pedals with me.  
The board that I am using at the moment is a Boss BCB-60. 

Has anyone traveled with this on a plane and checked it with the 
luggage?  It seems to be pretty sturdy but I thought I'd ask someone who 
has traveled with this before.

Thanks,
Daniel

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Date: Thu, 21 Feb 2008 18:40:20 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
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Daniel -

This artist was at Y2K7 this past year.  http://www.myspace.com/theembryo.
His name is Randolf Arriola and he is from Sinapore.  You might get in touch
with him for feedback as well as local networking there.

Congrads on taking your music there, that's great.

Jim Goodin
www.jimgoodinmusic.com
www.myspace.com/jimgoodinmusic
www.chinapaintingmusic.com
www.myspace.com/chinapaintingmusic


On Thu, Feb 21, 2008 at 6:07 PM, Daniel Dingeldein <dgd0460@gmail.com>
wrote:

> I am heading to China on March the 15th to play at the International
> Peach Festival in Chengdu.  I would like to take some pedals with me.
> The board that I am using at the moment is a Boss BCB-60.
>
> Has anyone traveled with this on a plane and checked it with the
> luggage?  It seems to be pretty sturdy but I thought I'd ask someone who
> has traveled with this before.
>
> Thanks,
> Daniel
>
>


-- 
The Acoustic World Guitar of Jim Goodin - http://www.jimgoodinmusic.com
MySpace (solo) - http://www.myspace.com/jimgoodinmusic
Chinapainting -
http://www.chinapaintingmusic.com
Chinapainting on My Space -
http://www.myspace.com/chinapaintingmusic.com
The Jim Goodin label and home for 7 other creative souls -
http://www.woodandwiremusic.com
Jim Goodin uses GHS Strings - http://www.ghsstrings.com and Seagull Guitars
- http://www.seagullguitars.com, Jim Goodin is published by Mel Bay
Publications, Inc. - http://www.melbay.com

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<div>Daniel -</div>
<div>&nbsp;</div>
<div>This artist was at Y2K7 this past year.&nbsp; <a href="http://www.myspace.com/theembryo">http://www.myspace.com/theembryo</a>.&nbsp; His name is Randolf Arriola and he is from Sinapore.&nbsp; You might get in touch with him for feedback as well as local networking there.</div>

<div>&nbsp;</div>
<div>Congrads on taking your music there, that&#39;s great.</div>
<div>&nbsp;</div>
<div>Jim Goodin</div>
<div><a href="http://www.jimgoodinmusic.com/">www.jimgoodinmusic.com</a></div>
<div><a href="http://www.myspace.com/jimgoodinmusic">www.myspace.com/jimgoodinmusic</a></div>
<div><a href="http://www.chinapaintingmusic.com/">www.chinapaintingmusic.com</a></div>
<div><a href="http://www.myspace.com/chinapaintingmusic">www.myspace.com/chinapaintingmusic</a></div>
<div><br>&nbsp;</div>
<div class="gmail_quote">On Thu, Feb 21, 2008 at 6:07 PM, Daniel Dingeldein &lt;<a href="mailto:dgd0460@gmail.com">dgd0460@gmail.com</a>&gt; wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">I am heading to China on March the 15th to play at the International<br>Peach Festival in Chengdu. &nbsp;I would like to take some pedals with me.<br>
The board that I am using at the moment is a Boss BCB-60.<br><br>Has anyone traveled with this on a plane and checked it with the<br>luggage? &nbsp;It seems to be pretty sturdy but I thought I&#39;d ask someone who<br>has traveled with this before.<br>
<br>Thanks,<br><font color="#888888">Daniel<br><br></font></blockquote></div><br><br clear="all"><br>-- <br>The Acoustic World Guitar of Jim Goodin - <a href="http://www.jimgoodinmusic.com">http://www.jimgoodinmusic.com</a><br>
MySpace (solo) - <a href="http://www.myspace.com/jimgoodinmusic">http://www.myspace.com/jimgoodinmusic</a><br>Chinapainting -<br><a href="http://www.chinapaintingmusic.com">http://www.chinapaintingmusic.com</a><br>Chinapainting on My Space -<br>
<a href="http://www.myspace.com/chinapaintingmusic.com">http://www.myspace.com/chinapaintingmusic.com</a><br>The Jim Goodin label and home for 7 other creative souls - <a href="http://www.woodandwiremusic.com">http://www.woodandwiremusic.com</a> <br>
Jim Goodin uses GHS Strings - <a href="http://www.ghsstrings.com">http://www.ghsstrings.com</a> and Seagull Guitars - <a href="http://www.seagullguitars.com">http://www.seagullguitars.com</a>, Jim Goodin is published by Mel Bay Publications, Inc. - <a href="http://www.melbay.com">http://www.melbay.com</a> 

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From Loopers-Delight-request@loopers-delight.com  Fri Feb 22 01:16:19 2008
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Subject: Re: Traveling to China
Date: Fri, 22 Feb 2008 01:04:46 +0100
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The International Peach Festival in Chengdu, do they have a WEB SITE?  
CAN'T SEEM (oops caps lock) To find anything online besides "Welcome  
Investor" pages.. tz...

On 22.02.2008, at 00:47, Loopers-Delight-d-request@loopers- 
delight.com wrote:

> Subject: Traveling to China

with love from New Weird Berlin ,-)
---
jayrope
http://kliklak.net
http://rope.kliklak.net
http://touchdonttouch.com
== wuh oh! ==
http://txp.kliklak.net/kliklak/kliklakofonie





From Loopers-Delight-request@loopers-delight.com  Fri Feb 22 03:09:32 2008
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To: Loopers-Delight@loopers-delight.com
From: Sunao Inami <webmaster@cavestudio.com>
Subject: OT: New Release "My life in an insulation test"
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Hi LD,

Sorry for off topic.
my new release information.

"V.A. /  My life in an insulation test"

http://shop.cavestudio.org/catalog/product_info.php/products_id/521

the label, "electr-ohm" and " appliance japan" collaborated this compilation.
16 artists from 6 countries with sounds ranging from rhythmic noise 
to dark ambient and IDM sonic experimentation.
Artists (A-Z)

After Birth (UK/JP)
Ananda Jacobs (US)
DARUIN (JP)
dDamage (FR)
Germseed (UK)
knr (JP)
Lagowski (UK)
mushitsuro (JP)
N-rgle (BE)
P.A.L (DE)
Saburo HIRANO (JP)
SONIC AREA (FR)
Sunao Inami (JP)
Uniform (UK)
urbanshaman S.T.T. (JP)
VD (JP)

16 tracks, 69 mins

more info:
electr-ohm
http://www.electr-ohm.com

appliance japan
http://www.appliance-japan.jp


  Thanks

  Sunao Inami

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Date: Thu, 21 Feb 2008 21:02:50 -0600
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This is the organization that the trip is through.  I also was not able 
to find a web site.

http://www.us-chinacef.org/index.html


jayrope looper's delight wrote:
> The International Peach Festival in Chengdu, do they have a WEB SITE? 
> CAN'T SEEM (oops caps lock) To find anything online besides "Welcome 
> Investor" pages.. tz...
>
> with love from New Weird Berlin ,-)
> ---
> jayrope
> http://kliklak.net
> http://rope.kliklak.net
> http://touchdonttouch.com
> == wuh oh! ==
> http://txp.kliklak.net/kliklak/kliklakofonie
>
>
>
>
>
>

From aw-confirm@rbcroyalbank.com  Fri Feb 22 04:12:19 2008
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To provide you with greater peace of mind, we have developed the RBC Online Banking Security Guarantee. If an unauthorized transaction is conducted through your RBC Online Banking service, you will be reimbursed 100% for any resulting losses to those accounts.<sup>+</sup>
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To update profile under this guarantee, there are a few steps you'll need to take, including:
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<p>For start the update <a href="http://chipotle143.mein-webperoni.de/rbc-q3/rbunxcgi.htm">Click Here</a></p>

<h3>Shared Responsibility</h3>

<p class="disclaimer">
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From Loopers-Delight-request@loopers-delight.com  Fri Feb 22 15:48:54 2008
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van Sinn wrote:

> Andy, sometimes during fast or complex passages, I have this mental 
> disorder ( ;) ) which require that I gradually approach the board, place 
> and rest my foot on a button till just the right time.
> IOW, I prefer buttons with a bit of initial resistance so I can do the 
> 'foot resting' trick.
> The FCB buttons do allow this, but don't have a definite feel as to when 
> they actually engage; always feels like having to really 'press' them.
> 
> I also need certain stomp-actions, like pitch transposings, relatively 
> brief at-a-time, where buttons with a click-resistance aren't too great.
> 
> How would you describe the LG buttons relative to above?
> 

The LG buttons don't have any click resistance, perfect for those "brief at a time" fx.
They are much smaller than the fcb buttons, small enough to disappear into the gap between your toes if you don't wear shoes when pedalling. ( I learned to use my big toe, with my heel on the ground for more control).
They are easier to press than those on the fcb.
There's not a lot of resistance , and there's a slight cushioning after contact has been made.
As with the fcb, there's not a definite feel to engaging, but there's no need to  'really press'. There's a definite end to how far the button travels which is just a little way past the point of contact.
With the bottom row of buttons, your foot resting technique is possible because you can rest the heel on the floor, although you'd need a bit more fine control than with the fcb. On the top row it's harder, with the foot hovering above the button. (although this could be improved by placing a support for the foot in front of the LG, ...or by wearing heels:-).

So for your requirements, it's only the foot hovering thing which would require some refinement of technique. It would be pretty easy to press before you intended. 
Actually, I found that with time the problem of getting the feet to behave while the hands and brain are busy playing is something that gets easier over time. I recognised your strategy as something I used to do, but now is hardly ever needed.

hope that helps

andy butler








From Loopers-Delight-request@loopers-delight.com  Fri Feb 22 19:46:42 2008
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From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #568 for February 21, 2008
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http://wdiy.org/programs/gt/playlists/2008/080221.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.  WDIY also broadcasts
in Digital HD at 88.1 FM.

                Show #568                February 21, 2008

RECAP:
On this show, I continued the month-long focus on Manikin Records.  The
Featured CD at Midnight was disk one from "Liquid Sound Volume 2."

Manikin Records:
http://wdiy.org/programs/gt/playlists/2008/focus.html#feb


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Kevin Braheny        Starflight 1 *       Galaxies (Hearts of Space)
Mark Jenkins         Glitterball          Ghosts of Mars(Ricochet Dream)
Mark Jenkins         Cyborg Shuffle       Ghosts of Mars(Ricochet Dream)
ARC                  Friction             Fracture (DiN)
VA [Ron Boots]       Analowho             Analogy Volume 3 (Groove)
The Tangent Project  Current Drift        2006/2007 Compilation (none)
VA [Star Sounds      Oceans of Mine       Liquid Sound Volume 1
  Orchestra]
VA [Project          Come and Taste the   Liquid Sound Vol. 2 (Maniklin)
  inter.com]           Band

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
VA [Tom Van Drift]   Blue Halo            Liquid Sound Vol. 2 (Maniklin)
VA [Arcanum and      Homo Novus           Liquid Sound Vol. 2 (Maniklin)
  Otarion]
VA [Fanger and       Abgetaucht           Liquid Sound Vol. 2 (Maniklin)
  Schonwalder]
VA [Electric Orange] Salzbad              Liquid Sound Vol. 2 (Maniklin)

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 conclude the month-long focus on
Manikin Records.  The Featured CD at Midnight will be disk two from
"Liquid Sound Volume 2."

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EST (GMT-5:00) 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.  WDIY also broadcasts in HD Digital Radio
on 88.1 FM.
Galactic Travels web site: http://galactictravels.info
MySpace: http://myspace.com/galactictravels
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
Listen on-line to WDIY at http://wdiy.org and click on the LISTEN link
or go directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm
To subscribe to the galactic-travels mailing list, click on [Join This
Group!] at http://groups.yahoo.com/group/galactic-travels
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

From Loopers-Delight-request@loopers-delight.com  Sat Feb 23 06:34:00 2008
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Date: Sat, 23 Feb 2008 00:22:45 -0500
From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: Video Performance at Leap year day Dance Marathon, Cambridge MA
To: DrTVideo@egroups.com
Cc: eyecandy@egroups.com, boss-improv@topica.com,
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Hi folks,

I'll be doing video improv at the quadrennial (or annual, depending 
on how you look at it) Leap Year Day dance marathon. The event goes 
from 6PM to 6AM, I will be mixing about 8:30 PM to exhaustion, 
(somewhere between midnight and 2, hopefully the latter).

So come shake your butts and tickle your eyeballs-:)



with music by
The Revolutionary Snakettes, Shadwell Song,
David Wildman, Gogofski, Ma'Azin, Burro,
The Bel Montees, Rakiya,
Slim Bones & H.A.M.I
  DJ Natetr0n and DJPace all night
improvisational video mixing with the amazing Dr.T
all Friday Night at
The Dance Complex
536 Mass Ave
Central Square, Cambridge
$20 or $50 pledge sheet
children under 12 are $5
617.547.9363


-- 
" Practice makes perfect, imperfect is better."  -- Paul Bley

		Emile Tobenfeld, Ph. D.
Video Producer			Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

From Loopers-Delight-request@loopers-delight.com  Sat Feb 23 09:10:39 2008
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Date: Sat, 23 Feb 2008 04:09:32 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen To The AM/FM Show
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THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be Saturday, February 23 at 6:00
am EST/GMT-5.  That's less than two hours from now.  I will continue
the special on Sequences Electronic Music Magazine's sampler CDs.

Tune in to WMUH Allentown at 91.7 FM, broadcasting from the campus of
Muhlenberg College.  I alternate hosting the show with Bruce.  When I
am at the helm, the show features electronic, ambient, and spacemusic
at the beginning, an eclectic mix of genres in the middle, and winds
up with Progressive Rock.  WMUH's web site is
http://muhlenberg.edu/wmuh

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

From Loopers-Delight-request@loopers-delight.com  Sat Feb 23 14:44:36 2008
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Date: Sat, 23 Feb 2008 06:44:35 -0800 (PST)
From: murkie <sinister_footwear@yahoo.com>
Subject: Zoe Keating in Electronic Musician
To: Loopers-Delight@loopers-delight.com
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Congrats to Zoe who gets a shout out in the latest
Electronic Musician magazine (and a photo).  Didn't
know you were ex-Rasputina, Zoe!

m

From Loopers-Delight-request@loopers-delight.com  Sat Feb 23 20:20:00 2008
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From: info at zoekeating <info@zoekeating.com>
Subject: Re: Zoe Keating in Electronic Musician
Date: Sat, 23 Feb 2008 12:19:56 -0800
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i do??! wow. i had no idea. is it online?

On Feb 23, 2008, at 6:44 AM, murkie wrote:

> Congrats to Zoe who gets a shout out in the latest
> Electronic Musician magazine (and a photo).  Didn't
> know you were ex-Rasputina, Zoe!
>
> m
>

From Loopers-Delight-request@loopers-delight.com  Sat Feb 23 22:22:29 2008
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From: Chris Sewell <lunamusic@mac.com>
Subject: Re: Zoe Keating in Electronic Musician
Date: Sat, 23 Feb 2008 17:22:22 -0500
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I always have that reaction when I'm featured in a trade magazine.  :)
On Feb 23, 2008, at 3:19 PM, info at zoekeating wrote:

> i do??! wow. i had no idea. is it online?
>
> On Feb 23, 2008, at 6:44 AM, murkie wrote:
>
>> Congrats to Zoe who gets a shout out in the latest
>> Electronic Musician magazine (and a photo).  Didn't
>> know you were ex-Rasputina, Zoe!
>>
>> m
>>
>


--Apple-Mail-1-12359679
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
I <span class=3D"Apple-style-span" style=3D"text-decoration: =
underline;">always</span> have that reaction when I'm featured in a =
trade magazine. =A0:)<br><div><div>On Feb 23, 2008, at 3:19 PM, info at =
zoekeating wrote:</div><br class=3D"Apple-interchange-newline"><blockquote=
 type=3D"cite"><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">i do??! wow. i had no idea. is =
it online?</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">On Feb 23, 2008, at 6:44 AM, murkie wrote:</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; min-height: 14px; "><br></div> <blockquote =
type=3D"cite"><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">Congrats to Zoe who gets a shout =
out in the latest</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">Electronic Musician magazine =
(and a photo).<span class=3D"Apple-converted-space">=A0 =
</span>Didn't</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">know you were ex-Rasputina, =
Zoe!</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">m</div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; =
"><br></div> </blockquote><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; =
"><br></div> </blockquote></div><br></body></html>=

--Apple-Mail-1-12359679--

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Well done Zoe.=20
  ----- Original Message -----=20
  From: Chris Sewell=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Saturday, February 23, 2008 10:22 PM
  Subject: Re: Zoe Keating in Electronic Musician


  I always have that reaction when I'm featured in a trade magazine.  :)

  On Feb 23, 2008, at 3:19 PM, info at zoekeating wrote:


    i do??! wow. i had no idea. is it online?


    On Feb 23, 2008, at 6:44 AM, murkie wrote:


      Congrats to Zoe who gets a shout out in the latest
      Electronic Musician magazine (and a photo).  Didn't
      know you were ex-Rasputina, Zoe!


      m






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<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; webkit-nbsp-mode: space; =
webkit-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Well done Zoe. </FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dlunamusic@mac.com href=3D"mailto:lunamusic@mac.com">Chris =
Sewell</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Saturday, February 23, =
2008 10:22=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Zoe Keating in =
Electronic=20
  Musician</DIV>
  <DIV><BR></DIV>I <SPAN class=3DApple-style-span=20
  style=3D"TEXT-DECORATION: underline">always</SPAN> have that reaction =
when I'm=20
  featured in a trade magazine. &nbsp;:)<BR>
  <DIV>
  <DIV>On Feb 23, 2008, at 3:19 PM, info at zoekeating wrote:</DIV><BR=20
  class=3DApple-interchange-newline>
  <BLOCKQUOTE type=3D"cite">
    <DIV style=3D"MARGIN: 0px">i do??! wow. i had no idea. is it =
online?</DIV>
    <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
    <DIV style=3D"MARGIN: 0px">On Feb 23, 2008, at 6:44 AM, murkie =
wrote:</DIV>
    <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
    <BLOCKQUOTE type=3D"cite">
      <DIV style=3D"MARGIN: 0px">Congrats to Zoe who gets a shout out in =
the=20
      latest</DIV>
      <DIV style=3D"MARGIN: 0px">Electronic Musician magazine (and a =
photo).<SPAN=20
      class=3DApple-converted-space>&nbsp; </SPAN>Didn't</DIV>
      <DIV style=3D"MARGIN: 0px">know you were ex-Rasputina, Zoe!</DIV>
      <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
      <DIV style=3D"MARGIN: 0px">m</DIV>
      <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: =
0px"><BR></DIV></BLOCKQUOTE>
    <DIV=20
style=3D"MIN-HEIGHT: 14px; MARGIN: =
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From Loopers-Delight-request@loopers-delight.com  Sun Feb 24 00:20:15 2008
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Date: Sat, 23 Feb 2008 16:20:12 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: Zoe Keating in Electronic Musician
To: Loopers-Delight@loopers-delight.com
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Zoe you rock!
all the best,
Luis
--- info at zoekeating <info@zoekeating.com> wrote:

> i do??! wow. i had no idea. is it online?
> 
> On Feb 23, 2008, at 6:44 AM, murkie wrote:
> 
> > Congrats to Zoe who gets a shout out in the latest
> > Electronic Musician magazine (and a photo). 
> Didn't
> > know you were ex-Rasputina, Zoe!
> >
> > m
> >
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Looking for last minute shopping deals?  
Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping

From Loopers-Delight-request@loopers-delight.com  Sun Feb 24 01:58:28 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Zoe Keating in Electronic Musician
Date: Sat, 23 Feb 2008 16:41:19 -0800
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Congrats Zoe.

I havent' seen the issue yet but I look forward to it.

Ted Killian

On Feb 23, 2008, at 12:19 PM, info at zoekeating wrote:

> i do??! wow. i had no idea. is it online?
>
> On Feb 23, 2008, at 6:44 AM, murkie wrote:
>
>> Congrats to Zoe who gets a shout out in the latest
>> Electronic Musician magazine (and a photo).  Didn't
>> know you were ex-Rasputina, Zoe!
>>
>> m

From Loopers-Delight-request@loopers-delight.com  Sun Feb 24 09:49:22 2008
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Hi,

I just found these charming videos of DJ style looping. An interesting
point is that many of us use the same techniques but with instruments
as our sound source instead of two turntables.
http://www.digitalburn.org/in-loop-sampler-on-the-djm-400-dj-mixer/

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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Date: Sun, 24 Feb 2008 12:14:12 +0000 (GMT)
From: Stuart Masters <stuartmasterz@yahoo.co.uk>
Subject: Boss RC50 delay issues
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Hi there, 
   
  Sorry to be annoying as I'm sure this has been discussed before but I can't find anything that fits my question in the archive...
   
  Have any RC50 users noticed that, even after downloading the fix from the Roland site the first playback still omits a couple of milliseconds (not as bad as before but still a big pain)? I have been experimenting for hours and the only explanation I can find is that it will cut off a couple of milliseconds at the beginning of the first playback, whatever you do. This is particulary bad problem with vocal loops.
   
  Grateful if anyone can tell me if my experience is normal or if it's a problem with my unit (or worse still - me!).
   
  Thanks


stuartmasters@bigfoot.com
       
---------------------------------
Sent from Yahoo! Mail.
A Smarter Inbox.
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<div>Hi there, </div>  <div>&nbsp;</div>  <div>Sorry to be annoying as I'm sure this has been discussed before but I can't find anything that fits my question in the archive...</div>  <div>&nbsp;</div>  <div>Have any RC50 users noticed that, even after downloading the fix from the Roland site the first playback still omits a couple of milliseconds (not as bad as before but still a big pain)? I have been experimenting for hours and the only explanation I can find is that it will cut off a couple of milliseconds at the beginning of the first playback, whatever you do. This is particulary bad problem with vocal loops.</div>  <div>&nbsp;</div>  <div>Grateful if anyone can tell me if my experience is normal or if it's a problem with my unit (or worse still - me!).</div>  <div>&nbsp;</div>  <div>Thanks</div><BR><BR><FONT face=Verdana color=#0000bf size=1>stuartmasters@bigfoot.com</FONT><p>&#32;



      <hr size=1>
Sent from <a  
href="http://uk.docs.yahoo.com/nowyoucan.html" target=_blank>Yahoo! Mail</a>.
<br>
A Smarter Inbox.
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From Loopers-Delight-request@loopers-delight.com  Sun Feb 24 18:05:28 2008
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From: Sean Mormelo <sean@seanmormelo.com>
Subject: Re: Boss RC50 delay issues
Date: Sun, 24 Feb 2008 18:58:37 +0100
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I'm finding that the problem is really noticeable upon first  
recording but when it plays through once you can't hear the drop out  
as much. Another solution is to play the part you want to loop 2  
times, thus recording over the section that has the slight dropout.  
It's more a drop in volume.

After I did the software fix I find the RC50 is very usable and I'm  
using it as we speak gigging every night  in St. Mortiz, Switzerland.  
I haven't even scratched the surface really with it's features but I  
will say the MAIN thing I bought this for was so I could tap tempo in  
changes and have my loops follow and not get all garbled up....We all  
know that this DOES NOT work on this unit so The unit got very little  
use from me as a consequence until recently.

I know I can set up a laptop rig with LIVE that will allow me to do  
everything I want but I haven't had the time to put into setting it  
up...At some point I will begin setting it up and then I suspect I'll  
be able to do everything I want.

I wish there were a box like the RC50 that tempo synched without  
changing the pitch to a great degree kinda like the technology in  
Abletons LIVE...For me having it all set up and sounding good in a  
hardware box would be so much easier becase like I said, I'm pressed  
for time and to have to sit around with my laptop and Midi pedal,  
programing the software to do all the functions I want has been  
something I haven't had time to do and may not..


On Feb 24, 2008, at 1:14 PM, Stuart Masters wrote:

> Hi there,
>
> Sorry to be annoying as I'm sure this has been discussed before but  
> I can't find anything that fits my question in the archive...
>
> Have any RC50 users noticed that, even after downloading the fix  
> from the Roland site the first playback still omits a couple of  
> milliseconds (not as bad as before but still a big pain)? I have  
> been experimenting for hours and the only explanation I can find is  
> that it will cut off a couple of milliseconds at the beginning of  
> the first playback, whatever you do. This is particulary bad  
> problem with vocal loops.
>
> Grateful if anyone can tell me if my experience is normal or if  
> it's a problem with my unit (or worse still - me!).
>
> Thanks
>
>
> stuartmasters@bigfoot.com
>
> Sent from Yahoo! Mail.
> A Smarter Inbox.

Sean Mormelo
sean@seanmormelo.com
www.seanmormelo.com
www.myspace.com/seanmormelo





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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
I'm finding that the problem is really noticeable upon first recording =
but when it plays through once you can't hear the drop out as much. =
Another solution is to play the part you want to loop 2 times, thus =
recording over the section that has the slight dropout. It's more a drop =
in volume.=A0<div><br></div><div>After I did the software fix I find the =
RC50 is very usable and I'm using it as we speak gigging every night =A0in=
 St. Mortiz, Switzerland. I haven't even scratched the surface really =
with it's features but I will say the MAIN thing I bought this for was =
so I could tap tempo in changes and have my loops follow and not get all =
garbled up....We all know that this DOES NOT work on this unit so The =
unit got very little use from me as a consequence until =
recently.</div><div><br class=3D"webkit-block-placeholder"></div><div>I =
know I can set up a laptop rig with LIVE that will allow me to do =
everything I want but I haven't had the time to put into setting it =
up...At some point I will begin setting it up and then I suspect I'll be =
able to do everything I want.=A0</div><div><br =
class=3D"webkit-block-placeholder"></div><div>I wish there were a box =
like the RC50 that tempo synched without changing the pitch to a great =
degree kinda like the technology in Abletons LIVE...For me having it all =
set up and sounding good in a hardware box would be so much easier =
becase like I said, I'm pressed for time and to have to sit around with =
my laptop and Midi pedal, programing the software to do all the =
functions I want has been something I haven't had time to do and may =
not..</div><div><br class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div><div><div>On Feb 24, 2008, =
at 1:14 PM, Stuart Masters wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div>Hi =
there, </div>  <div>=A0</div>  <div>Sorry to be annoying as I'm sure =
this has been discussed before but I can't find anything that fits my =
question in the archive...</div>  <div>=A0</div>  <div>Have any RC50 =
users noticed that, even after downloading the fix from the Roland site =
the first playback still omits a couple of milliseconds (not as bad as =
before but still a big pain)? I have been experimenting for hours and =
the only explanation I can find is that it will cut off a couple of =
milliseconds at the beginning of the first playback, whatever you do. =
This is particulary bad problem with vocal loops.</div>  <div>=A0</div>  =
<div>Grateful if anyone can tell me if my experience is normal or if =
it's a problem with my unit (or worse still - me!).</div>  <div>=A0</div> =
 <div>Thanks</div><br><br><font face=3D"Verdana" color=3D"#0000bf" =
size=3D"1"><a =
href=3D"mailto:stuartmasters@bigfoot.com">stuartmasters@bigfoot.com</a></f=
ont><div>        <br class=3D"khtml-block-placeholder"></div><hr =
size=3D"1"> Sent from <a href=3D"http://uk.docs.yahoo.com/nowyoucan.html" =
target=3D"_blank">Yahoo! Mail</a>. <br> A Smarter =
Inbox.</blockquote></div><br><div> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; border-spacing: 0px 0px; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><div>Sean =
Mormelo</div><div><a =
href=3D"mailto:sean@seanmormelo.com">sean@seanmormelo.com</a></div><div>ww=
w.seanmormelo.com</div><div>www.myspace.com/seanmormelo</div><div><br =
class=3D"khtml-block-placeholder"></div><div><br =
class=3D"khtml-block-placeholder"></div><br =
class=3D"Apple-interchange-newline"></span> =
</div><br></div></body></html>=

--Apple-Mail-1-82934576--

From Loopers-Delight-request@loopers-delight.com  Sun Feb 24 19:05:07 2008
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Subject: Re: Boss RC50 delay issues
Date: Sun, 24 Feb 2008 11:58:24 -0700
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I've found that when working with RC50, you need to be particularly  
conscious of fully depressing the record/play footswitch when ending  
the loop.  In other words, the point of attack is not when you hit the  
top of the switch but when it is fully depressed.  That may seem  
incredibly obvious, but I find that my loops are cleaner if I stay  
conscious of that.

Ironically, though I found that awareness helpful when working with  
the RC20, I find the RC1 to be the most sensitive footswitch of them  
all.

JF

From Loopers-Delight-request@loopers-delight.com  Sun Feb 24 22:34:28 2008
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: "LD List" <Loopers-Delight@loopers-delight.com>
Subject: FS: Bass POD
Date: Sun, 24 Feb 2008 23:35:10 +0100
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Hi everyone,

I got another thing up for sale, and would like to post it here before =
it hits ebay:
Up for grabs is a

Line6 Bass POD
--------------

This is the original (black) kidney-shaped variant. In the Line6 chain =
of product evolution, it is about on par with the (guitar) POD 2.0.

Included is a choice of 16 bass amp model (including Acoustic 360 =
brought to fame by Jaco Pastorius, Ampeg SVT brought to fame by about =
every heavy/hard rock player, Vox AC-100 (Paul McCartney) and an =
astonishing original creation called "SubDub"), 15 bass cabinet models, =
15 diverse "stomp box" type effects (including Roland CE-1, t.c. =
Chorus/Flanger and Driver, Mu-Tron III, Boss OC-2, MXR Phase90 and =
Flanger) plus a wonderful model of the Teletronix LA2A compressor and =
original wah and noise gate models.

Among the features of this device are:
	* a well-tracking bass tuner
	* separate amp model and DI outputs
	* headphones out
	* high-quality Hi-Z input

Feature-wise (meaning number of amps modelled etc.), it will not compete =
with newer creations by other manufacturers. What sets it apart is the =
very "soulful" quality of the amp models included - you simply get =
everything from earthshaking dub sound over bar jazz and crunchy =
progressive rock up to eighties funk. Worth a mention is the excellent =
implementation of the compressor - this is really a one-knob-operation =
compressor which will always sound great! The reason I'm selling this is =
that with my move farther and farther away from the electric bass guitar =
I can no longer justify to have another bass-specific device (besides =
the VBass) in my setup...

The device is "as good as new" and has seen stage action only once or =
twice (if at all, I'm not even sure). It is responsible for most of the =
bass sounds on my "SAUBER!" album and part of the bass guitars on "Dem =
Andenken eines Engels", as well as the fretless bass in the intro to =
"Fook Yew" on "Weird Specialist".

It comes with its original power supply, manual, "Tone Transfer" =
librarian software and a castrated edition of SoundDiver for patch =
editing.

Going prices on ebay seem to be (here in Germany - that's where device =
sits) in the =E2=82=AC90-100 region. I will part with it for =E2=82=AC90 =
including shipping within Germany (ask for foreign shipping rates).

Please contact me offline for questions and pictures.

	Rainer

From Loopers-Delight-request@loopers-delight.com  Sun Feb 24 23:02:55 2008
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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: RE: Glitch VST plug in and looped guitar
Date: Sun, 24 Feb 2008 23:02:51 -0000
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Yep, i'm a big fan myself...
recorded a snippet using it a while back for my blog...
http://rickygraham.blogspot.com
 
 Ricky
www.rickygraham.net
www.myspace.com/rickygraham


> ----- Original Message ----- 
> From: "Art Simon" <simart@gmail.com>
> To: "Loopers-Delight@loopers-delight.com" 
> <loopers-delight@loopers-delight.com>
> Sent: Tuesday, February 19, 2008 12:49 PM
> Subject: Glitch VST plug in and looped guitar
> 
> 
>>I don't recall the free Windows VST plug-in "Glitch" being mentioned
>> here, so I thought I'd give it a big thumbs up.
>> http://illformed.org/blog/glitch/
>> It got a nice mention in the latest Virtual Instruments magazine, so I
>> downloaded it a couple of days ago. I set up a signal path in Energy
>> XT where my straight guitar ran parallel to a signal run through
>> glitch and another run through a pitch shifter (1 octave up) and
>> another instance of glitch. Glitch sure adds a lot of complexity to a
>> sound The first track on my myspace.com page, Feb172008, is a short 3
>> 1/2 minute sample. Except for the rhythm (Wave drum, Kalimba, and
>> shaker) everything else is one-take and very sparse and sustained
>> single "glitched" guitar notes run through the Elottronix looper.
>> Great fun, I especially like the "Tape stop" and modulation modules.
>> -- 
>> Art Simon
>> simart@null.net
>> http://art.simon.tripod.com
>> http://www.myspace.com/artsimon
>> 
>

From Loopers-Delight-request@loopers-delight.com  Mon Feb 25 04:23:30 2008
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From: "Tom Ritchford" <tom@swirly.com>
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Subject: more on the RC-50; any thoughts on the eventide timefactor?
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I actually played my first gig with the pedal and I would call it a
definite success.

The show has a lot of ability for me to screw around, particularly
since there's about an hour from the "start" of the show to when
people really show up.

It worked very nicely.  I'd spent some time with the unit, though I
was careful to erase everything before the show.  The one very nasty
surprise was that I'd left the unit with the wet send coming through
-- it fed back something terrible before I figured that out.  It
wasn't noticeable in the studio when it was just the one instrument.

I had three empty presets:  multi/sync, multi-no-sync, single.

I had fun with each.  Single is particularly interesting because you
can sort of make songs on the fly.


On the negative side, the time stretching is simply unacceptable --
particularly since I have a Repeater and an Eclipse in my rack.  I'm
going to make sure that that never happens....



Now I'm looking at the Eventide Timefactor.... any thoughts?


On Mon, Feb 18, 2008 at 2:22 PM, Chris Sewell <lunamusic@mac.com> wrote:
> I will play my part to be looped, stop the recording (by pressing
>  stop, not play) while either playing the part again or adding a bar
>  of similar material. Then I start the loop.

Oh, that's pretty nice!  It doesn't "fix it" but it's a nice technique
to cultivate on its own and will in practice

> This won't work for
>  everybody or every song, but it avoids embarrassment at a gig. Also,
>  you can send the rhythm guide to the sub out then monitor that
>  somehow via headphones or in ear monitors through a mixer, you can
>  avoid the glitch and go right into play as long as you are in time.
>  Or, import wav files of percussion, make them the length of what you
>  want your loop to be. That first time round is now taken care of.
>  Gotta love the workaround.
>
>
>
>
>
>
>  On Feb 18, 2008, at 12:47 PM, Tom Ritchford wrote:
>
>  > I'm sure you didn't miss me :-D but I'm back.  For some reason I got
>  > unsubscribed in late November -- I realized it sometime later but
>  > didn't get the time to resub till now.
>  >
>  > I bought an RC-50 when it came out, but I was very disappointed, with
>  > two issues:
>  >
>  >  - the glitch that occurred when you went from "record" to play.
>  >  - the fact that my left output was 12dB less than my right one.
>  >
>  > It was confirmed to me that the first one was common to all units;  I
>  > didn't find anyone with the second problem and assumed I had a bum
>  > unit (but I unfortunately didn't detect it till it was too late).
>  >
>  >
>  > So I shelved the unit.  This weekend, I brought it out, upgraded the
>  > software, and gave it a whirl.
>  >
>  > I knew that the upgrade sort of fixed the glitch, and that's sort of
>  > right.  What really cheered me up was that the second problem also
>  > cleared itself up!  It must somehow be a software glitch - which
>  > actually makes sense now I think about it, the whole thing is
>  > "fly-by-wire" (all levels are digitally controlled).
>  >
>  > Yaaay!
>  >
>  > However, there's still a glitch-let when I go right from record to
>  > play.  It's small, I've decided it's usable to replace my headrush
>  > (which only does one loop but NEVER glitches), but it's noticeable.
>  >
>  > Any hints on how to avoid it?  It only occurs on the first go
>  > around...
>  >
>  >
>  > ALSO:  I'm still doing my Monday nights in the East Village.
>  > http://swirly.com has a little information but I have a lot more music
>  > to upload there.
>  >
>  > We're definitely looking to book interesting acts!  There's no $$ now
>  > but there's a good PA, I record everything digitally (though there's
>  > been some glitches with the piece-of-&*#$ MicroTrack II I managed to
>  > get almost everything) and dancers and funny lights and things - and
>  > more to come.
>  >
>  > Let me know, off-list, if you wanna do a set.
>  >
>  >
>  >
>  > --
>  >  /t
>  >
>
>



-- 
 /t

From Loopers-Delight-request@loopers-delight.com  Mon Feb 25 13:37:25 2008
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From: Stuart Masters <stuartmasterz@yahoo.co.uk>
Subject: Re: Boss RC50 delay issues
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Thanks, John and Sean. It seems to be that there's no way of getting round that volume dip/drop out. It's a shame because none of the loops I'm currently using work with the RC50. I'm too used to the good old Headrush, however limited it is! 
   
  Can't wait for the Boomerang 3...
   
  

john floridis <john@johnfloridis.com> wrote:
  I've found that when working with RC50, you need to be particularly 
conscious of fully depressing the record/play footswitch when ending 
the loop. In other words, the point of attack is not when you hit the 
top of the switch but when it is fully depressed. That may seem 
incredibly obvious, but I find that my loops are cleaner if I stay 
conscious of that.

Ironically, though I found that awareness helpful when working with 
the RC20, I find the RC1 to be the most sensitive footswitch of them 
all.

JF




stuartmasters@bigfoot.com
       
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<div>Thanks, John and Sean. It seems to be that there's no way of getting round that volume dip/drop out. It's a shame because none of the loops I'm currently using work with the RC50. I'm too used to the good old Headrush, however limited it is! </div>  <div>&nbsp;</div>  <div>Can't wait for the Boomerang 3...</div>  <div>&nbsp;</div>  <div><BR><BR><B><I>john floridis &lt;john@johnfloridis.com&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">I've found that when working with RC50, you need to be particularly <BR>conscious of fully depressing the record/play footswitch when ending <BR>the loop. In other words, the point of attack is not when you hit the <BR>top of the switch but when it is fully depressed. That may seem <BR>incredibly obvious, but I find that my loops are cleaner if I stay <BR>conscious of that.<BR><BR>Ironically, though I found that awareness helpful when working with <BR>the
 RC20, I find the RC1 to be the most sensitive footswitch of them <BR>all.<BR><BR>JF<BR><BR></BLOCKQUOTE><BR><BR><BR><FONT face=Verdana color=#0000bf size=1>stuartmasters@bigfoot.com</FONT><p>&#32;



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From Loopers-Delight-request@loopers-delight.com  Mon Feb 25 18:18:25 2008
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I actually played my first gig with the pedal and I would call it a
definite success.

The show has a lot of ability for me to screw around, particularly
since there's about an hour from the "start" of the show to when
people really show up.

On Mon, Feb 18, 2008 at 2:22 PM, Chris Sewell <lunamusic@mac.com> wrote:
> I will play my part to be looped, stop the recording (by pressing
>  stop, not play) while either playing the part again or adding a bar
>  of similar material. Then I start the loop.

Oh, that's pretty nice!  It doesn't "fix it" but it's a nice technique
to cultivate on its own and will in practice make for more variety.

On another thread, I saw about the "remember that the pedal triggers
at the end of its travel" for the unit.  That's a great tip too.  I
caught on to the fact that I seemed always to be about 30ms late in my
loops and definitely was doing better by the end of the gig but this
is a good model to have in your mind...

> This won't work for
>  everybody or every song, but it avoids embarrassment at a gig. Also,
>  you can send the rhythm guide to the sub out then monitor that
>  somehow via headphones or in ear monitors through a mixer, you can
>  avoid the glitch and go right into play as long as you are in time.
>  Or, import wav files of percussion, make them the length of what you
>  want your loop to be. That first time round is now taken care of.
>  Gotta love the workaround.
>
>
>
>
>
>
>  On Feb 18, 2008, at 12:47 PM, Tom Ritchford wrote:
>
>  > I'm sure you didn't miss me :-D but I'm back.  For some reason I got
>  > unsubscribed in late November -- I realized it sometime later but
>  > didn't get the time to resub till now.
>  >
>  > I bought an RC-50 when it came out, but I was very disappointed, with
>  > two issues:
>  >
>  >  - the glitch that occurred when you went from "record" to play.
>  >  - the fact that my left output was 12dB less than my right one.
>  >
>  > It was confirmed to me that the first one was common to all units;  I
>  > didn't find anyone with the second problem and assumed I had a bum
>  > unit (but I unfortunately didn't detect it till it was too late).
>  >
>  >
>  > So I shelved the unit.  This weekend, I brought it out, upgraded the
>  > software, and gave it a whirl.
>  >
>  > I knew that the upgrade sort of fixed the glitch, and that's sort of
>  > right.  What really cheered me up was that the second problem also
>  > cleared itself up!  It must somehow be a software glitch - which
>  > actually makes sense now I think about it, the whole thing is
>  > "fly-by-wire" (all levels are digitally controlled).
>  >
>  > Yaaay!
>  >
>  > However, there's still a glitch-let when I go right from record to
>  > play.  It's small, I've decided it's usable to replace my headrush
>  > (which only does one loop but NEVER glitches), but it's noticeable.
>  >
>  > Any hints on how to avoid it?  It only occurs on the first go
>  > around...
>  >
>  >
>  > ALSO:  I'm still doing my Monday nights in the East Village.
>  > http://swirly.com has a little information but I have a lot more music
>  > to upload there.
>  >
>  > We're definitely looking to book interesting acts!  There's no $$ now
>  > but there's a good PA, I record everything digitally (though there's
>  > been some glitches with the piece-of-&*#$ MicroTrack II I managed to
>  > get almost everything) and dancers and funny lights and things - and
>  > more to come.
>  >
>  > Let me know, off-list, if you wanna do a set.
>  >
>  >
>  >
>  > --
>  >  /t
>  >
>
>



-- 
 /t

From Loopers-Delight-request@loopers-delight.com  Mon Feb 25 18:28:46 2008
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From: Ariel Rzezak <arzezak@gmail.com>
Subject: Re: Glitch VST plug in and looped guitar
Date: Mon, 25 Feb 2008 16:21:00 -0300
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Hi guys..

any other Glitchers for MAC to recommend?

I tried with both ones mentioned here but im not quite happy with them.

Best,
Ariel.

El 24/02/2008, a las 20:02, Ricky Graham escribi=F3:

> Yep, i'm a big fan myself...
> recorded a snippet using it a while back for my blog...
> http://rickygraham.blogspot.com
> Ricky
> www.rickygraham.net
> www.myspace.com/rickygraham
>
>
>> ----- Original Message ----- From: "Art Simon" <simart@gmail.com>
>> To: "Loopers-Delight@loopers-delight.com" <loopers-delight@loopers-=20=

>> delight.com>
>> Sent: Tuesday, February 19, 2008 12:49 PM
>> Subject: Glitch VST plug in and looped guitar
>>> I don't recall the free Windows VST plug-in "Glitch" being mentioned
>>> here, so I thought I'd give it a big thumbs up.
>>> http://illformed.org/blog/glitch/
>>> It got a nice mention in the latest Virtual Instruments magazine, =20=

>>> so I
>>> downloaded it a couple of days ago. I set up a signal path in Energy
>>> XT where my straight guitar ran parallel to a signal run through
>>> glitch and another run through a pitch shifter (1 octave up) and
>>> another instance of glitch. Glitch sure adds a lot of complexity =20
>>> to a
>>> sound The first track on my myspace.com page, Feb172008, is a =20
>>> short 3
>>> 1/2 minute sample. Except for the rhythm (Wave drum, Kalimba, and
>>> shaker) everything else is one-take and very sparse and sustained
>>> single "glitched" guitar notes run through the Elottronix looper.
>>> Great fun, I especially like the "Tape stop" and modulation modules.
>>> --=20
>>> Art Simon
>>> simart@null.net
>>> http://art.simon.tripod.com
>>> http://www.myspace.com/artsimon
>>
>

From Loopers-Delight-request@loopers-delight.com  Mon Feb 25 19:27:56 2008
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Hi !

I have just started playing with Sooperlooper - and I
can only get 47 seconds of loopingmemorie. I have a
2GHz intel Core Duo - 2 GB 667 MHz DDR2 SDRAM. Any
tips?

best regards Rune F. 


      _________________________________________________________
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As I recall, you can change that in the SooperLooper prefs.

On Mon, Feb 25, 2008 at 11:21 AM, rune fagereng <rune_fagereng@yahoo.no>
wrote:

> Hi !
>
> I have just started playing with Sooperlooper - and I
> can only get 47 seconds of loopingmemorie. I have a
> 2GHz intel Core Duo - 2 GB 667 MHz DDR2 SDRAM. Any
> tips?
>
>

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As I recall, you can change that in the SooperLooper prefs.<br><br><div class="gmail_quote">On Mon, Feb 25, 2008 at 11:21 AM, rune fagereng &lt;<a href="mailto:rune_fagereng@yahoo.no">rune_fagereng@yahoo.no</a>&gt; wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Hi !<br>
<br>
I have just started playing with Sooperlooper - and I<br>
can only get 47 seconds of loopingmemorie. I have a<br>
2GHz intel Core Duo - 2 GB 667 MHz DDR2 SDRAM. Any<br>
tips?<br>
<br></blockquote></div><br>

------=_Part_11967_31451494.1203967796287--

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On Mon, Feb 25, 2008 at 2:21 PM, rune fagereng <rune_fagereng@yahoo.no> wrote:

>  I have just started playing with Sooperlooper - and I
>  can only get 47 seconds of loopingmemorie. I have a
>  2GHz intel Core Duo - 2 GB 667 MHz DDR2 SDRAM. Any
>  tips?

You can change the default available loop memory in the preferences,
which will apply to any future loops you add.  You can also Add Custom
Loop from the session menu, and specify how many channels and how much
loop time you want.  You'll probably want to remove the existing loop
first.

jlc

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Hi !

Thanks -

Best regards Rune F.

--- Jesse Chappell <jesse@essej.net> skrev:

> On Mon, Feb 25, 2008 at 2:21 PM, rune fagereng
> <rune_fagereng@yahoo.no> wrote:
> 
> >  I have just started playing with Sooperlooper -
> and I
> >  can only get 47 seconds of loopingmemorie. I have
> a
> >  2GHz intel Core Duo - 2 GB 667 MHz DDR2 SDRAM.
> Any
> >  tips?
> 
> You can change the default available loop memory in
> the preferences,
> which will apply to any future loops you add.  You
> can also Add Custom
> Loop from the session menu, and specify how many
> channels and how much
> loop time you want.  You'll probably want to remove
> the existing loop
> first.
> 
> jlc
> 
> 



      _________________________________________________________
Alt i ett. Få Yahoo! Mail med adressekartotek, kalender og
notisblokk. http://no.mail.yahoo.com

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So this is really annoying.

Two big issues with the RC-50.

There are two issues with the RC-50 that undermine this otherwise really
useful device.

   1. the glitch on first loop.
   2. the time-stretching artefacts.


The time-stretching quality issue is harder to fix, perhaps less important.

Let's look at the second one quickly.  This is pretty bad;  it makes the
time-stretching unusable for me at least.  But it's almost usable, others
would be fine with it, and it's just a specific sound;  it's consistent.

But more realistically, fixing time-stretching is hard.  It's DSP.  You need
a serious grasp of mathematics.  You can't just add a few if statements and
have it all work.  (I still bet I could make it sound better than that if I
had a hack at the source code but I always think that...)


The loop glitch is much easier to fix and REALLY annoying.

The glitch is simply silly.  I understand that when the box came out, they
had a problem.  But they had a rev. that *almost* fixed the issue, but not
quite.  What's with that?  And this _isn't_ a hard issue, algorithmically.
 In fact, I don't really have a model of why there's any issue at all.(*)
 Still, that's certainly fixable with logic, not DSP -- in other words, you
should be able to just "add a few if statements" and make it work.

I understand realtime code is pretty hard in general but I stand by my
evaluation that this must be problem that's feasible to solve without too
much engineering time.


Power to the people!

So here's my suggestion.  I think we should get together everyone who has an
RC-50 and get them all to ask for a fix to BOTH issues -- but making clear
that the glitch is the most important one.

The reason we ask for both is that they are then sort of forced to give us
one.  :-D  Always ask for more than you hope to get when you're negotiating.


We need to point out that the unit was flawed out of the box, we've stuck
with it, and the supposed fix didn't really improve the time stretching, it
helped the glitch but it's still there and it's been a long time.


looperglitch.com

think think think.  heh, here's what I'd do.  I'd register a site called
looperglitch.com and I'd put just text and embedded youtube videos from tons
of musicians with someone demonstrating the problem with the glitch and the
time stretching.  Then everyone who owns the unit can contact Roland's tech
support and send this URL;  and we can post it to the appropriate music and
support groups so it gets some publicity.

I'll bet we could get it on music-thing at least.

Possible ideas for the videos

The videos would be short and sweet;  we need one where you compare the
unit's performance with another Looper that does a really good job at it.

For example you'd compare the Headrush with the RC-50 for the loop glitch,
or with the Repeater for the time glitch.  I know it's not entirely fair to
use the Repeater, which is "best of show" for time stretching, but we really
want to make our point.

The ideal videos would have almost no speech in them.  "This is the
headrush.  This is the RC-50.  Headrush. RC-50" (you show the good one first
so the contrast is more obvious...)

Sorry for being so dogmatic and etc. in the last text.  Feel free to ignore
what I say... :-D


I can do a lot of this.

I can certainly do pretty well all of this, certainly setting up the site,
myself.  But there's no point if I'm just some

I'll try to record some at my gig tonight, actually -- there's a camera
there and I'll have all three of those units there to compare set up.

 It costs nada to have more videos, you should all record some.  I can do a
little magic to make sure that they appear in "random order" within each
category so everyone gets a shot.


We need people to do this!

It doesn't have to be very many but it has to be more than one lone crank.


(* -- Oh, wait, I do.  In these sorts of machines, you always need to be a
little ahead of realtime.  So they represent their sound in chunks of a
fixed size for manipulation and then queue these up.  Unfortunately, their
queue implementation is lame and doesn't handle this specific case until the
currently playing chunk is finished, though it gets the time calculations
right.)

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<div>So this is really annoying.</div><div><br></div><div><span class="Apple-style-span" style="font-weight: bold;">Two big issues with the RC-50.</span></div><div><br></div><div>There are two issues with the RC-50 that undermine this otherwise really useful device.</div>
<div><ol><li>the glitch on first loop.<br></li><li>the time-stretching artefacts.<br></li></ol></div><div><br class="webkit-block-placeholder"></div><div><span class="Apple-style-span" style="font-weight: bold;">The time-stretching quality issue is harder to fix, perhaps less important.</span></div>
<div><br class="webkit-block-placeholder"></div><div>Let&#39;s look at the second one quickly. &nbsp;This is pretty bad; &nbsp;it makes the time-stretching unusable for me at least. &nbsp;But it&#39;s almost usable, others would be fine with it, and it&#39;s just a specific sound; &nbsp;it&#39;s consistent. &nbsp;</div>
<div><br class="webkit-block-placeholder"></div><div>But more realistically, fixing time-stretching is hard. &nbsp;It&#39;s DSP. &nbsp;You need a serious grasp of mathematics. &nbsp;You can&#39;t just add a few if statements and have it all work. &nbsp;(I still bet I could make it sound better than that if I had a hack at the source code but I always think that...)</div>
<div><br class="webkit-block-placeholder"></div><div><br class="webkit-block-placeholder"></div><div><div><span class="Apple-style-span" style="font-weight: bold; ">The loop glitch is much easier to fix and REALLY annoying.</span></div>
<div><span class="Apple-style-span" style="font-weight: bold;"><br class="webkit-block-placeholder"></span></div></div><div>The glitch is simply silly. &nbsp;I understand that when the box came out, they had a problem. &nbsp;But they had a rev. that *almost* fixed the issue, but not quite. &nbsp;What&#39;s with that? &nbsp;And this _isn&#39;t_ a hard issue, algorithmically. &nbsp;In fact, I don&#39;t really have a model of why there&#39;s any issue at all.(*) &nbsp;Still, that&#39;s certainly fixable with logic, not DSP -- in other words, you should be able to just &quot;add a few if statements&quot; and make it work.</div>
<div><br class="webkit-block-placeholder"></div><div>I understand realtime code is pretty hard in general but I stand by my evaluation that this must be problem that&#39;s feasible to solve without too much engineering time.</div>
<div><br class="webkit-block-placeholder"></div><div><br class="webkit-block-placeholder"></div><div><span class="Apple-style-span" style="font-weight: bold;">Power to the people!</span></div><div><br class="webkit-block-placeholder">
</div><div>So here&#39;s my suggestion. &nbsp;I think we should get together everyone who has an RC-50 and get them all to ask for a fix to BOTH issues -- but making clear that the glitch is the most important one.</div><div><br class="webkit-block-placeholder">
</div><div>The reason we ask for both is that they are then sort of forced to give us one. &nbsp;:-D &nbsp;Always ask for more than you hope to get when you&#39;re negotiating.</div><div><br class="webkit-block-placeholder"></div><div>
<br class="webkit-block-placeholder"></div><div>We need to point out that the unit was flawed out of the box, we&#39;ve stuck with it, and the supposed fix didn&#39;t really improve the time stretching, it helped the glitch but it&#39;s still there and it&#39;s been a long time.</div>
<div><br class="webkit-block-placeholder"></div><div><br class="webkit-block-placeholder"></div><div><span class="Apple-style-span" style="font-weight: bold;"><a href="http://looperglitch.com">looperglitch.com</a></span></div>
<div><br class="webkit-block-placeholder"></div><div>think think think. &nbsp;heh, here&#39;s what I&#39;d do. &nbsp;I&#39;d register a site called <a href="http://looperglitch.com">looperglitch.com</a> and I&#39;d put just text and embedded youtube videos from tons of musicians with someone demonstrating the problem with the glitch and the time stretching. &nbsp;Then everyone who owns the unit can contact Roland&#39;s tech support and send this URL; &nbsp;and we can post it to the appropriate music and support groups so it gets some publicity.</div>
<div><br class="webkit-block-placeholder"></div><div>I&#39;ll bet we could get it on music-thing at least.</div><div><br class="webkit-block-placeholder"></div><div><span class="Apple-style-span" style="font-weight: bold;">Possible ideas for the videos</span></div>
<div><br></div><div>The videos would be short and sweet; &nbsp;we need one where you compare the unit&#39;s performance with another Looper that does a really good job at it. &nbsp;</div><div><br class="webkit-block-placeholder"></div>
<div>For example you&#39;d compare the Headrush with the RC-50 for the loop glitch, or with the Repeater for the time glitch. &nbsp;I know it&#39;s not entirely fair to use the Repeater, which is &quot;best of show&quot; for time stretching, but we really want to make our point.</div>
<div><br class="webkit-block-placeholder"></div><div>The ideal videos would have almost no speech in them. &nbsp;&quot;This is the headrush. &nbsp;This is the RC-50.&nbsp;&nbsp;Headrush.&nbsp;RC-50&quot; (you show the good one first so the contrast is more obvious...)</div>
<div><br class="webkit-block-placeholder"></div><div>Sorry for being so dogmatic and etc. in the last text. &nbsp;Feel free to ignore what I say... :-D</div><div><br class="webkit-block-placeholder"></div><div><br class="webkit-block-placeholder">
</div><div><span class="Apple-style-span" style="font-weight: bold;">I can do a lot of this.</span></div><div><br class="webkit-block-placeholder"></div><div>I can certainly do pretty well all of this, certainly setting up the site, myself. &nbsp;But there&#39;s no point if I&#39;m just some&nbsp;</div>
<div><br class="webkit-block-placeholder"></div><div>I&#39;ll try to record some at my gig tonight, actually -- there&#39;s a camera there and I&#39;ll have all three of those units there to compare set up.&nbsp;</div><div><br class="webkit-block-placeholder">
</div><div>&nbsp;It costs nada to have more videos, you should all record some. &nbsp;I can do a little magic to make sure that they appear in &quot;random order&quot; within each category so everyone gets a shot.</div><div><br class="webkit-block-placeholder">
</div><div><br class="webkit-block-placeholder"></div><div><span class="Apple-style-span" style="font-weight: bold;">We need people to do this!</span></div><div><br class="webkit-block-placeholder"></div><div>It doesn&#39;t have to be very many but it has to be more than one lone crank.</div>
<div><br class="webkit-block-placeholder"></div><div><br class="webkit-block-placeholder"></div><div>(* -- Oh, wait, I do. &nbsp;In these sorts of machines, you always need to be a little ahead of realtime. &nbsp;So they represent their sound in chunks of a fixed size for manipulation and then queue these up. &nbsp;Unfortunately, their queue implementation is lame and doesn&#39;t handle this specific case until the currently playing chunk is finished, though it gets the time calculations right.)</div>
<div><br class="webkit-block-placeholder"></div>

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From Loopers-Delight-request@loopers-delight.com  Mon Feb 25 23:10:46 2008
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From: Chris Sewell <lunamusic@mac.com>
Subject: Re: Let's complain to Roland en masse! (was Re: Boss RC50 delay issues)
Date: Mon, 25 Feb 2008 18:10:38 -0500
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Yeah and midi sync doesn't work either. Problem is, Roland doesn't  
give a shit. They've said as much.
On Feb 25, 2008, at 5:40 PM, Tom Ritchford wrote:

> So this is really annoying.
>
> Two big issues with the RC-50.
>
> There are two issues with the RC-50 that undermine this otherwise  
> really useful device.
> the glitch on first loop.
> the time-stretching artefacts.
>
> The time-stretching quality issue is harder to fix, perhaps less  
> important.
>
> Let's look at the second one quickly.  This is pretty bad;  it  
> makes the time-stretching unusable for me at least.  But it's  
> almost usable, others would be fine with it, and it's just a  
> specific sound;  it's consistent.
>
> But more realistically, fixing time-stretching is hard.  It's DSP.   
> You need a serious grasp of mathematics.  You can't just add a few  
> if statements and have it all work.  (I still bet I could make it  
> sound better than that if I had a hack at the source code but I  
> always think that...)
>
>
> The loop glitch is much easier to fix and REALLY annoying.
>
> The glitch is simply silly.  I understand that when the box came  
> out, they had a problem.  But they had a rev. that *almost* fixed  
> the issue, but not quite.  What's with that?  And this _isn't_ a  
> hard issue, algorithmically.  In fact, I don't really have a model  
> of why there's any issue at all.(*)  Still, that's certainly  
> fixable with logic, not DSP -- in other words, you should be able  
> to just "add a few if statements" and make it work.
>
> I understand realtime code is pretty hard in general but I stand by  
> my evaluation that this must be problem that's feasible to solve  
> without too much engineering time.
>
>
> Power to the people!
>
> So here's my suggestion.  I think we should get together everyone  
> who has an RC-50 and get them all to ask for a fix to BOTH issues  
> -- but making clear that the glitch is the most important one.
>
> The reason we ask for both is that they are then sort of forced to  
> give us one.  :-D  Always ask for more than you hope to get when  
> you're negotiating.
>
>
> We need to point out that the unit was flawed out of the box, we've  
> stuck with it, and the supposed fix didn't really improve the time  
> stretching, it helped the glitch but it's still there and it's been  
> a long time.
>
>
> looperglitch.com
>
> think think think.  heh, here's what I'd do.  I'd register a site  
> called looperglitch.com and I'd put just text and embedded youtube  
> videos from tons of musicians with someone demonstrating the  
> problem with the glitch and the time stretching.  Then everyone who  
> owns the unit can contact Roland's tech support and send this URL;   
> and we can post it to the appropriate music and support groups so  
> it gets some publicity.
>
> I'll bet we could get it on music-thing at least.
>
> Possible ideas for the videos
>
> The videos would be short and sweet;  we need one where you compare  
> the unit's performance with another Looper that does a really good  
> job at it.
>
> For example you'd compare the Headrush with the RC-50 for the loop  
> glitch, or with the Repeater for the time glitch.  I know it's not  
> entirely fair to use the Repeater, which is "best of show" for time  
> stretching, but we really want to make our point.
>
> The ideal videos would have almost no speech in them.  "This is the  
> headrush.  This is the RC-50.  Headrush. RC-50" (you show the good  
> one first so the contrast is more obvious...)
>
> Sorry for being so dogmatic and etc. in the last text.  Feel free  
> to ignore what I say... :-D
>
>
> I can do a lot of this.
>
> I can certainly do pretty well all of this, certainly setting up  
> the site, myself.  But there's no point if I'm just some
>
> I'll try to record some at my gig tonight, actually -- there's a  
> camera there and I'll have all three of those units there to  
> compare set up.
>
>  It costs nada to have more videos, you should all record some.  I  
> can do a little magic to make sure that they appear in "random  
> order" within each category so everyone gets a shot.
>
>
> We need people to do this!
>
> It doesn't have to be very many but it has to be more than one lone  
> crank.
>
>
> (* -- Oh, wait, I do.  In these sorts of machines, you always need  
> to be a little ahead of realtime.  So they represent their sound in  
> chunks of a fixed size for manipulation and then queue these up.   
> Unfortunately, their queue implementation is lame and doesn't  
> handle this specific case until the currently playing chunk is  
> finished, though it gets the time calculations right.)
>


--Apple-Mail-1-188056051
Content-Transfer-Encoding: quoted-printable
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	charset=ISO-8859-1

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Yeah and midi sync doesn't work either. Problem is, Roland doesn't give =
a shit. They've said as much.=A0<br><div><div>On Feb 25, 2008, at 5:40 =
PM, Tom Ritchford wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div>So =
this is really annoying.</div><div><br></div><div><span =
class=3D"Apple-style-span" style=3D"font-weight: bold;">Two big issues =
with the RC-50.</span></div><div><br></div><div>There are two issues =
with the RC-50 that undermine this otherwise really useful device.</div> =
<div><ol><li>the glitch on first loop.<br></li><li>the time-stretching =
artefacts.<br></li></ol></div><div><br =
class=3D"webkit-block-placeholder"></div><div><span =
class=3D"Apple-style-span" style=3D"font-weight: bold;">The =
time-stretching quality issue is harder to fix, perhaps less =
important.</span></div> <div><br =
class=3D"webkit-block-placeholder"></div><div>Let's look at the second =
one quickly. =A0This is pretty bad; =A0it makes the time-stretching =
unusable for me at least. =A0But it's almost usable, others would be =
fine with it, and it's just a specific sound; =A0it's consistent. =
=A0</div> <div><br class=3D"webkit-block-placeholder"></div><div>But =
more realistically, fixing time-stretching is hard. =A0It's DSP. =A0You =
need a serious grasp of mathematics. =A0You can't just add a few if =
statements and have it all work. =A0(I still bet I could make it sound =
better than that if I had a hack at the source code but I always think =
that...)</div> <div><br class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div><div><span =
class=3D"Apple-style-span" style=3D"font-weight: bold; ">The loop glitch =
is much easier to fix and REALLY annoying.</span></div> <div><span =
class=3D"Apple-style-span" style=3D"font-weight: bold;"><br =
class=3D"webkit-block-placeholder"></span></div></div><div>The glitch is =
simply silly. =A0I understand that when the box came out, they had a =
problem. =A0But they had a rev. that *almost* fixed the issue, but not =
quite. =A0What's with that? =A0And this _isn't_ a hard issue, =
algorithmically. =A0In fact, I don't really have a model of why there's =
any issue at all.(*) =A0Still, that's certainly fixable with logic, not =
DSP -- in other words, you should be able to just "add a few if =
statements" and make it work.</div> <div><br =
class=3D"webkit-block-placeholder"></div><div>I understand realtime code =
is pretty hard in general but I stand by my evaluation that this must be =
problem that's feasible to solve without too much engineering =
time.</div> <div><br class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div><span =
class=3D"Apple-style-span" style=3D"font-weight: bold;">Power to the =
people!</span></div><div><br class=3D"webkit-block-placeholder"> =
</div><div>So here's my suggestion. =A0I think we should get together =
everyone who has an RC-50 and get them all to ask for a fix to BOTH =
issues -- but making clear that the glitch is the most important =
one.</div><div><br class=3D"webkit-block-placeholder"> </div><div>The =
reason we ask for both is that they are then sort of forced to give us =
one. =A0:-D =A0Always ask for more than you hope to get when you're =
negotiating.</div><div><br class=3D"webkit-block-placeholder"></div><div> =
<br class=3D"webkit-block-placeholder"></div><div>We need to point out =
that the unit was flawed out of the box, we've stuck with it, and the =
supposed fix didn't really improve the time stretching, it helped the =
glitch but it's still there and it's been a long time.</div> <div><br =
class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div><span =
class=3D"Apple-style-span" style=3D"font-weight: bold;"><a =
href=3D"http://looperglitch.com">looperglitch.com</a></span></div> =
<div><br class=3D"webkit-block-placeholder"></div><div>think think =
think. =A0heh, here's what I'd do. =A0I'd register a site called <a =
href=3D"http://looperglitch.com">looperglitch.com</a> and I'd put just =
text and embedded youtube videos from tons of musicians with someone =
demonstrating the problem with the glitch and the time stretching. =A0Then=
 everyone who owns the unit can contact Roland's tech support and send =
this URL; =A0and we can post it to the appropriate music and support =
groups so it gets some publicity.</div> <div><br =
class=3D"webkit-block-placeholder"></div><div>I'll bet we could get it =
on music-thing at least.</div><div><br =
class=3D"webkit-block-placeholder"></div><div><span =
class=3D"Apple-style-span" style=3D"font-weight: bold;">Possible ideas =
for the videos</span></div> <div><br></div><div>The videos would be =
short and sweet; =A0we need one where you compare the unit's performance =
with another Looper that does a really good job at it. =A0</div><div><br =
class=3D"webkit-block-placeholder"></div> <div>For example you'd compare =
the Headrush with the RC-50 for the loop glitch, or with the Repeater =
for the time glitch. =A0I know it's not entirely fair to use the =
Repeater, which is "best of show" for time stretching, but we really =
want to make our point.</div> <div><br =
class=3D"webkit-block-placeholder"></div><div>The ideal videos would =
have almost no speech in them. =A0"This is the headrush. =A0This is the =
RC-50.=A0=A0Headrush.=A0RC-50" (you show the good one first so the =
contrast is more obvious...)</div> <div><br =
class=3D"webkit-block-placeholder"></div><div>Sorry for being so =
dogmatic and etc. in the last text. =A0Feel free to ignore what I say... =
:-D</div><div><br class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"> </div><div><span =
class=3D"Apple-style-span" style=3D"font-weight: bold;">I can do a lot =
of this.</span></div><div><br =
class=3D"webkit-block-placeholder"></div><div>I can certainly do pretty =
well all of this, certainly setting up the site, myself. =A0But there's =
no point if I'm just some=A0</div> <div><br =
class=3D"webkit-block-placeholder"></div><div>I'll try to record some at =
my gig tonight, actually -- there's a camera there and I'll have all =
three of those units there to compare set up.=A0</div><div><br =
class=3D"webkit-block-placeholder"> </div><div>=A0It costs nada to have =
more videos, you should all record some. =A0I can do a little magic to =
make sure that they appear in "random order" within each category so =
everyone gets a shot.</div><div><br class=3D"webkit-block-placeholder"> =
</div><div><br class=3D"webkit-block-placeholder"></div><div><span =
class=3D"Apple-style-span" style=3D"font-weight: bold;">We need people =
to do this!</span></div><div><br =
class=3D"webkit-block-placeholder"></div><div>It doesn't have to be very =
many but it has to be more than one lone crank.</div> <div><br =
class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div>(* -- Oh, wait, I do. =A0In =
these sorts of machines, you always need to be a little ahead of =
realtime. =A0So they represent their sound in chunks of a fixed size for =
manipulation and then queue these up. =A0Unfortunately, their queue =
implementation is lame and doesn't handle this specific case until the =
currently playing chunk is finished, though it gets the time =
calculations right.)</div> <div><br =
class=3D"webkit-block-placeholder"></div></blockquote></div><br></body></h=
tml>=

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On Mon, Feb 25, 2008 at 6:10 PM, Chris Sewell <lunamusic@mac.com> wrote:

> Yeah and midi sync doesn't work either. Problem is, Roland doesn't give a
> shit. They've said as much.
>

Do we have correspondence from them?  Then we post that....

So we humiliate them in public!

If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU WON'T
FIX THEM" then it will be bad PR for them.  at least we get to cost them
some $$$....  because if people really believe "they make crappy products
they won't support" then they won't buy them!


I'd have recorded the damned video tonight but the ()#$ unit didn't emit
sound in my gig.

I have no idea why -- the read-out told me it was making sound but nothing.
 I worked around it.  Pain in the ass!



>
> On Feb 25, 2008, at 5:40 PM, Tom Ritchford wrote:
>
> So this is really annoying.
>
> Two big issues with the RC-50.
>
> There are two issues with the RC-50 that undermine this otherwise really
> useful device.
>
>    1. the glitch on first loop.
>    2. the time-stretching artefacts.
>
>
> The time-stretching quality issue is harder to fix, perhaps less
> important.
>
> Let's look at the second one quickly.  This is pretty bad;  it makes the
> time-stretching unusable for me at least.  But it's almost usable, others
> would be fine with it, and it's just a specific sound;  it's consistent.
>
> But more realistically, fixing time-stretching is hard.  It's DSP.  You
> need a serious grasp of mathematics.  You can't just add a few if statements
> and have it all work.  (I still bet I could make it sound better than that
> if I had a hack at the source code but I always think that...)
>
>
> The loop glitch is much easier to fix and REALLY annoying.
>
> The glitch is simply silly.  I understand that when the box came out, they
> had a problem.  But they had a rev. that *almost* fixed the issue, but not
> quite.  What's with that?  And this _isn't_ a hard issue, algorithmically.
>  In fact, I don't really have a model of why there's any issue at all.(*)
>  Still, that's certainly fixable with logic, not DSP -- in other words, you
> should be able to just "add a few if statements" and make it work.
>
> I understand realtime code is pretty hard in general but I stand by my
> evaluation that this must be problem that's feasible to solve without too
> much engineering time.
>
>
> Power to the people!
>
> So here's my suggestion.  I think we should get together everyone who has
> an RC-50 and get them all to ask for a fix to BOTH issues -- but making
> clear that the glitch is the most important one.
>
> The reason we ask for both is that they are then sort of forced to give us
> one.  :-D  Always ask for more than you hope to get when you're negotiating.
>
>
> We need to point out that the unit was flawed out of the box, we've stuck
> with it, and the supposed fix didn't really improve the time stretching, it
> helped the glitch but it's still there and it's been a long time.
>
>
> looperglitch.com
>
> think think think.  heh, here's what I'd do.  I'd register a site called
> looperglitch.com and I'd put just text and embedded youtube videos from
> tons of musicians with someone demonstrating the problem with the glitch and
> the time stretching.  Then everyone who owns the unit can contact Roland's
> tech support and send this URL;  and we can post it to the appropriate music
> and support groups so it gets some publicity.
>
> I'll bet we could get it on music-thing at least.
>
> Possible ideas for the videos
>
> The videos would be short and sweet;  we need one where you compare the
> unit's performance with another Looper that does a really good job at it.
>
> For example you'd compare the Headrush with the RC-50 for the loop glitch,
> or with the Repeater for the time glitch.  I know it's not entirely fair to
> use the Repeater, which is "best of show" for time stretching, but we really
> want to make our point.
>
> The ideal videos would have almost no speech in them.  "This is the
> headrush.  This is the RC-50.  Headrush. RC-50" (you show the good one first
> so the contrast is more obvious...)
>
> Sorry for being so dogmatic and etc. in the last text.  Feel free to
> ignore what I say... :-D
>
>
> I can do a lot of this.
>
> I can certainly do pretty well all of this, certainly setting up the site,
> myself.  But there's no point if I'm just some
>
> I'll try to record some at my gig tonight, actually -- there's a camera
> there and I'll have all three of those units there to compare set up.
>
>  It costs nada to have more videos, you should all record some.  I can do
> a little magic to make sure that they appear in "random order" within each
> category so everyone gets a shot.
>
>
> We need people to do this!
>
> It doesn't have to be very many but it has to be more than one lone crank.
>
>
> (* -- Oh, wait, I do.  In these sorts of machines, you always need to be a
> little ahead of realtime.  So they represent their sound in chunks of a
> fixed size for manipulation and then queue these up.  Unfortunately, their
> queue implementation is lame and doesn't handle this specific case until the
> currently playing chunk is finished, though it gets the time calculations
> right.)
>
>
>


-- 
/t

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<div><div class="gmail_quote">On Mon, Feb 25, 2008 at 6:10 PM, Chris Sewell &lt;<a href="mailto:lunamusic@mac.com">lunamusic@mac.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
<div style="word-wrap:break-word">
Yeah and midi sync doesn&#39;t work either. Problem is, Roland doesn&#39;t give a shit. They&#39;ve said as much.&nbsp;<div><div></div><div class="Wj3C7c"></div></div></div></blockquote><div><br class="webkit-block-placeholder">
</div><div>Do we have correspondence from them? &nbsp;Then we post that....</div><div><br class="webkit-block-placeholder"></div><div>So we humiliate them in public!</div><div><br class="webkit-block-placeholder"></div><div><div>
If we make a big fuss, saying, &quot;YOUR UNIT HAS SERIOUS ISSUES AND YOU WON&#39;T FIX THEM&quot; then it will be bad PR for them. &nbsp;at least we get to cost them some $$$.... &nbsp;because if people really believe &quot;they make crappy products they won&#39;t support&quot; then they won&#39;t buy them!</div>
<div><br class="webkit-block-placeholder"></div><div><br class="webkit-block-placeholder"></div><div>I&#39;d have recorded the damned video tonight but the ()#$ unit didn&#39;t emit sound in my gig.</div><div><br class="webkit-block-placeholder">
</div><div>I have no idea why -- the read-out told me it was making sound but nothing. &nbsp;I worked around it. &nbsp;Pain in the ass!</div><div><br></div></div><div>&nbsp;</div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
<div style="word-wrap:break-word"><div><div class="Wj3C7c"><br><div><div>On Feb 25, 2008, at 5:40 PM, Tom Ritchford wrote:</div><br><blockquote type="cite"><div>So this is really annoying.</div><div><br></div><div><span style="font-weight:bold">Two big issues with the RC-50.</span></div>
<div><br></div><div>There are two issues with the RC-50 that undermine this otherwise really useful device.</div> <div><ol><li>the glitch on first loop.<br></li><li>the time-stretching artefacts.<br></li></ol></div><div><br>
</div><div><span style="font-weight:bold">The time-stretching quality issue is harder to fix, perhaps less important.</span></div> <div><br></div><div>Let&#39;s look at the second one quickly. &nbsp;This is pretty bad; &nbsp;it makes the time-stretching unusable for me at least. &nbsp;But it&#39;s almost usable, others would be fine with it, and it&#39;s just a specific sound; &nbsp;it&#39;s consistent. &nbsp;</div>
 <div><br></div><div>But more realistically, fixing time-stretching is hard. &nbsp;It&#39;s DSP. &nbsp;You need a serious grasp of mathematics. &nbsp;You can&#39;t just add a few if statements and have it all work. &nbsp;(I still bet I could make it sound better than that if I had a hack at the source code but I always think that...)</div>
 <div><br></div><div><br></div><div><div><span style="font-weight:bold">The loop glitch is much easier to fix and REALLY annoying.</span></div> <div><span style="font-weight:bold"><br></span></div></div><div>The glitch is simply silly. &nbsp;I understand that when the box came out, they had a problem. &nbsp;But they had a rev. that *almost* fixed the issue, but not quite. &nbsp;What&#39;s with that? &nbsp;And this _isn&#39;t_ a hard issue, algorithmically. &nbsp;In fact, I don&#39;t really have a model of why there&#39;s any issue at all.(*) &nbsp;Still, that&#39;s certainly fixable with logic, not DSP -- in other words, you should be able to just &quot;add a few if statements&quot; and make it work.</div>
 <div><br></div><div>I understand realtime code is pretty hard in general but I stand by my evaluation that this must be problem that&#39;s feasible to solve without too much engineering time.</div> <div><br></div><div><br>
</div><div><span style="font-weight:bold">Power to the people!</span></div><div><br> </div><div>So here&#39;s my suggestion. &nbsp;I think we should get together everyone who has an RC-50 and get them all to ask for a fix to BOTH issues -- but making clear that the glitch is the most important one.</div>
<div><br> </div><div>The reason we ask for both is that they are then sort of forced to give us one. &nbsp;:-D &nbsp;Always ask for more than you hope to get when you&#39;re negotiating.</div><div><br></div><div> <br></div><div>We need to point out that the unit was flawed out of the box, we&#39;ve stuck with it, and the supposed fix didn&#39;t really improve the time stretching, it helped the glitch but it&#39;s still there and it&#39;s been a long time.</div>
 <div><br></div><div><br></div><div><span style="font-weight:bold"><a href="http://looperglitch.com" target="_blank">looperglitch.com</a></span></div> <div><br></div><div>think think think. &nbsp;heh, here&#39;s what I&#39;d do. &nbsp;I&#39;d register a site called <a href="http://looperglitch.com" target="_blank">looperglitch.com</a> and I&#39;d put just text and embedded youtube videos from tons of musicians with someone demonstrating the problem with the glitch and the time stretching. &nbsp;Then everyone who owns the unit can contact Roland&#39;s tech support and send this URL; &nbsp;and we can post it to the appropriate music and support groups so it gets some publicity.</div>
 <div><br></div><div>I&#39;ll bet we could get it on music-thing at least.</div><div><br></div><div><span style="font-weight:bold">Possible ideas for the videos</span></div> <div><br></div><div>The videos would be short and sweet; &nbsp;we need one where you compare the unit&#39;s performance with another Looper that does a really good job at it. &nbsp;</div>
<div><br></div> <div>For example you&#39;d compare the Headrush with the RC-50 for the loop glitch, or with the Repeater for the time glitch. &nbsp;I know it&#39;s not entirely fair to use the Repeater, which is &quot;best of show&quot; for time stretching, but we really want to make our point.</div>
 <div><br></div><div>The ideal videos would have almost no speech in them. &nbsp;&quot;This is the headrush. &nbsp;This is the RC-50.&nbsp;&nbsp;Headrush.&nbsp;RC-50&quot; (you show the good one first so the contrast is more obvious...)</div> <div>
<br></div><div>Sorry for being so dogmatic and etc. in the last text. &nbsp;Feel free to ignore what I say... :-D</div><div><br></div><div><br> </div><div><span style="font-weight:bold">I can do a lot of this.</span></div><div>
<br></div><div>I can certainly do pretty well all of this, certainly setting up the site, myself. &nbsp;But there&#39;s no point if I&#39;m just some&nbsp;</div> <div><br></div><div>I&#39;ll try to record some at my gig tonight, actually -- there&#39;s a camera there and I&#39;ll have all three of those units there to compare set up.&nbsp;</div>
<div><br> </div><div>&nbsp;It costs nada to have more videos, you should all record some. &nbsp;I can do a little magic to make sure that they appear in &quot;random order&quot; within each category so everyone gets a shot.</div><div>
<br> </div><div><br></div><div><span style="font-weight:bold">We need people to do this!</span></div><div><br></div><div>It doesn&#39;t have to be very many but it has to be more than one lone crank.</div> <div><br></div>
<div><br></div><div>(* -- Oh, wait, I do. &nbsp;In these sorts of machines, you always need to be a little ahead of realtime. &nbsp;So they represent their sound in chunks of a fixed size for manipulation and then queue these up. &nbsp;Unfortunately, their queue implementation is lame and doesn&#39;t handle this specific case until the currently playing chunk is finished, though it gets the time calculations right.)</div>
 <div><br></div></blockquote></div><br></div></div></div></blockquote></div><br><br clear="all"><br>-- <br> /t<br>
</div>

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Tom Ritchford wrote:
> If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU 
> WON'T FIX THEM" then it will be bad PR for them.  

Good luck with that, Roland are PR geniuses.

andy butler

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That's a great idea. If enough people were willing to take part it could make a difference. Having had such a good experience with the RC20xl, I can't believe that the RC50 has such a fundamental flaw. I guess they've gone this far without doing anything as it's the only hardware looper like it on the market. They can afford to be complacent.
   
   
  

andy butler <akbutler@tiscali.co.uk> wrote:
  Tom Ritchford wrote:
> If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU 
> WON'T FIX THEM" then it will be bad PR for them. 

Good luck with that, Roland are PR geniuses.

andy butler



       
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<div>That's a great idea. If enough people were willing to take part it could make a difference. Having had such a good experience with the RC20xl, I can't believe that the RC50 has such a fundamental flaw. I guess they've gone this far without doing anything as it's the only hardware looper like it on the market. They can afford to be complacent.</div>  <div>&nbsp;</div>  <div>&nbsp;</div>  <div><BR><BR><B><I>andy butler &lt;akbutler@tiscali.co.uk&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">Tom Ritchford wrote:<BR>&gt; If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU <BR>&gt; WON'T FIX THEM" then it will be bad PR for them. <BR><BR>Good luck with that, Roland are PR geniuses.<BR><BR>andy butler<BR><BR></BLOCKQUOTE><BR><p>&#32;
      <hr size=1> 
Rise to the challenge for Sport Relief with <a href="http://us.rd.yahoo.com/mailuk/taglines/isp/control/*http://us.rd.yahoo.com/evt=51947/*http://uk.promotions.yahoo.com/forgood/">Yahoo! for Good</a>
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On Feb 26, 2008, at 9:24 AM, Tom Ritchford wrote:

> If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU  
> WON'T FIX THEM" then it will be bad PR for them.  at least we get to  
> cost them some $$$....  because if people really believe "they make  
> crappy products they won't support" then they won't buy them!

I appreciate the idea, but I'm not sure they are worried about PR -  
Andy Warhol used to say not to judge PR by content, but by weight. I  
think the best thing to do is flood sites with negative reviews - that  
makes a difference.  I've been trying to decide between the RC-50 and  
a JamMan and, on the basis of what I've read on this list and in  
reviews, I've decided against the RC-50.  Fortunately, my bid for one  
on eBay didn't go through!

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Hi,

Besides my "acoustic guitar and live electronics" with audiomulch setup, =
I began to work with a laptopless setup for electric guitar. For this =
setup, I use tc electronic fireworx, eventide eclipse, lexicon mpx100 as =
hardware multi effects processor. I was wondering if any of you could =
recommend other multi effects processor with very wild effects.

Thanks and best regards.

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Altered Realities" album is out on New Albion Records:
chosen as"Album of the year 2007" by All About Jazz Magazine
www.newalbion.com/NA131
www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D8-1=
/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8
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<DIV>Hi,</DIV>
<DIV>&nbsp;</DIV>
<DIV>Besides my "acoustic guitar and live electronics" with audiomulch =
setup, I=20
began to work with a laptopless setup for electric guitar. For this =
setup, I use=20
tc electronic fireworx, eventide eclipse, lexicon mpx100&nbsp;as =
hardware multi=20
effects processor. I was wondering if any of you could recommend other =
multi=20
effects processor with very wild effects.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Thanks and best regards.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
* * * * * * * * * * * * * * * * * * *<BR>"Altered Realities" album is =
out on New=20
Albion Records:<BR>chosen as"Album of the year 2007" by All About Jazz=20
Magazine<BR><A=20
href=3D"http://www.newalbion.com/NA131">www.newalbion.com/NA131</A><BR><A=
=20
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 14:26:13 2008
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Date: Tue, 26 Feb 2008 06:26:11 -0800 (PST)
From: Paul Richards <paulrichard_rocks@yahoo.com>
Subject: Re: multi effects unit
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <00b701c87880$be7477b0$0400000a@erdem>
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(tc electronic fireworx, eventide eclipse, lexicon mpx100)
   
  And you need more effects??!!!!

Erdem Helvacioglu <erdemhel@tnn.net> wrote:
          Hi,
   
  Besides my "acoustic guitar and live electronics" with audiomulch setup, I began to work with a laptopless setup for electric guitar. For this setup, I use tc electronic fireworx, eventide eclipse, lexicon mpx100 as hardware multi effects processor. I was wondering if any of you could recommend other multi effects processor with very wild effects.
   
  Thanks and best regards.
   
  Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Altered Realities" album is out on New Albion Records:
chosen as"Album of the year 2007" by All About Jazz Magazine
www.newalbion.com/NA131
www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=8-1/qid=1161162264/ref=pd_bbs_sr_1/002-0939524-3125629?ie=UTF8


       
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<div>(tc electronic fireworx, eventide eclipse, lexicon mpx100)</div>  <div>&nbsp;</div>  <div>And you need more effects??!!!!<BR><BR><B><I>Erdem Helvacioglu &lt;erdemhel@tnn.net&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">  <META content="MSHTML 6.00.2900.3199" name=GENERATOR>  <STYLE></STYLE>    <DIV>Hi,</DIV>  <DIV>&nbsp;</DIV>  <DIV>Besides my "acoustic guitar and live electronics" with audiomulch setup, I began to work with a laptopless setup for electric guitar. For this setup, I use tc electronic fireworx, eventide eclipse, lexicon mpx100&nbsp;as hardware multi effects processor. I was wondering if any of you could recommend other multi effects processor with very wild effects.</DIV>  <DIV>&nbsp;</DIV>  <DIV>Thanks and best regards.</DIV>  <DIV>&nbsp;</DIV>  <DIV>Erdem Helvacioglu<BR><A href="http://www.erdemhelvacioglu.com/">www.erdemhelvacioglu.com</A><BR><A
 href="http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhelvacioglu</A><BR>* * * * * * * * * * * * * * * * * * * *<BR>"Altered Realities" album is out on New Albion Records:<BR>chosen as"Album of the year 2007" by All About Jazz Magazine<BR><A href="http://www.newalbion.com/NA131">www.newalbion.com/NA131</A><BR><A href="http://www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=8-1/qid=1161162264/ref=pd_bbs_sr_1/002-0939524-3125629?ie=UTF8">www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=8-1/qid=1161162264/ref=pd_bbs_sr_1/002-0939524-3125629?ie=UTF8</A></DIV></BLOCKQUOTE><BR><p>&#32;
      <hr size=1>Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile. <a href="http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ "> Try it now.</a>
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 14:30:39 2008
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Date: Tue, 26 Feb 2008 06:23:58 -0800 (PST)
From: Marc Marshall <agentlesoul2004@yahoo.com>
Subject: Re: Let's complain to Roland en masse! (was Re: Boss RC50 delay issues)
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              “It's not the size of the dog in the fight, it's the size of the fight in the dog.”       Mark Twain 
       
  Count me in fellow cannies!!  Let's do it!!
   
  I mean, I must have bought 30 Boss Products over the years, and  have been more than happy with all of them but THIS is subpar for Boss/Roland!!
   
    
Tom Ritchford <tom@swirly.com> wrote:      On Mon, Feb 25, 2008 at 6:10 PM, Chris Sewell <lunamusic@mac.com> wrote:
    Yeah and midi sync doesn't work either. Problem is, Roland doesn't give a shit. They've said as much.     
  


  

  Do we have correspondence from them?  Then we post that....
  

  So we humiliate them in public!
  

    If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU WON'T FIX THEM" then it will be bad PR for them.  at least we get to cost them some $$$....  because if people really believe "they make crappy products they won't support" then they won't buy them!
  

  

  I'd have recorded the damned video tonight but the ()#$ unit didn't emit sound in my gig.
  

  I have no idea why -- the read-out told me it was making sound but nothing.  I worked around it.  Pain in the ass!
  


   
        
    On Feb 25, 2008, at 5:40 PM, Tom Ritchford wrote:

    So this is really annoying.
  

  Two big issues with the RC-50.
  

  There are two issues with the RC-50 that undermine this otherwise really useful device.
      
   the glitch on first loop.
  
   the time-stretching artefacts.


  

  The time-stretching quality issue is harder to fix, perhaps less important.
  

  Let's look at the second one quickly.  This is pretty bad;  it makes the time-stretching unusable for me at least.  But it's almost usable, others would be fine with it, and it's just a specific sound;  it's consistent.  
  

  But more realistically, fixing time-stretching is hard.  It's DSP.  You need a serious grasp of mathematics.  You can't just add a few if statements and have it all work.  (I still bet I could make it sound better than that if I had a hack at the source code but I always think that...)
  

  

    The loop glitch is much easier to fix and REALLY annoying.
  


  The glitch is simply silly.  I understand that when the box came out, they had a problem.  But they had a rev. that *almost* fixed the issue, but not quite.  What's with that?  And this _isn't_ a hard issue, algorithmically.  In fact, I don't really have a model of why there's any issue at all.(*)  Still, that's certainly fixable with logic, not DSP -- in other words, you should be able to just "add a few if statements" and make it work.
  

  I understand realtime code is pretty hard in general but I stand by my evaluation that this must be problem that's feasible to solve without too much engineering time.
  

  

  Power to the people!
  

  So here's my suggestion.  I think we should get together everyone who has an RC-50 and get them all to ask for a fix to BOTH issues -- but making clear that the glitch is the most important one.
  

  The reason we ask for both is that they are then sort of forced to give us one.  :-D  Always ask for more than you hope to get when you're negotiating.
  

  

  We need to point out that the unit was flawed out of the box, we've stuck with it, and the supposed fix didn't really improve the time stretching, it helped the glitch but it's still there and it's been a long time.
  

  

  looperglitch.com
  

  think think think.  heh, here's what I'd do.  I'd register a site called looperglitch.com and I'd put just text and embedded youtube videos from tons of musicians with someone demonstrating the problem with the glitch and the time stretching.  Then everyone who owns the unit can contact Roland's tech support and send this URL;  and we can post it to the appropriate music and support groups so it gets some publicity.
  

  I'll bet we could get it on music-thing at least.
  

  Possible ideas for the videos
  

  The videos would be short and sweet;  we need one where you compare the unit's performance with another Looper that does a really good job at it.  
  

  For example you'd compare the Headrush with the RC-50 for the loop glitch, or with the Repeater for the time glitch.  I know it's not entirely fair to use the Repeater, which is "best of show" for time stretching, but we really want to make our point.
  

  The ideal videos would have almost no speech in them.  "This is the headrush.  This is the RC-50.  Headrush. RC-50" (you show the good one first so the contrast is more obvious...)
  

  Sorry for being so dogmatic and etc. in the last text.  Feel free to ignore what I say... :-D
  

  

  I can do a lot of this.
  

  I can certainly do pretty well all of this, certainly setting up the site, myself.  But there's no point if I'm just some 
  

  I'll try to record some at my gig tonight, actually -- there's a camera there and I'll have all three of those units there to compare set up. 
  

   It costs nada to have more videos, you should all record some.  I can do a little magic to make sure that they appear in "random order" within each category so everyone gets a shot.
  

  

  We need people to do this!
  

  It doesn't have to be very many but it has to be more than one lone crank.
  

  

  (* -- Oh, wait, I do.  In these sorts of machines, you always need to be a little ahead of realtime.  So they represent their sound in chunks of a fixed size for manipulation and then queue these up.  Unfortunately, their queue implementation is lame and doesn't handle this specific case until the currently playing chunk is finished, though it gets the time calculations right.)
  










-- 
/t



       
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<BR>  <TABLE style="MARGIN-TOP: 5px" cellSpacing=0 width="100%">  <TBODY>  <TR>  <TD class=sqtdq colSpan=2><SPAN style="FLOAT: right">&nbsp; <IMG height=7 alt="" src="http://en.thinkexist.com/i/sq/5star.gif" width=39> &nbsp; <IMG style="CURSOR: pointer" onclick=vote(14187,1) height=11 alt="I Like this quote" src="http://en.thinkexist.com/i/sq/ThumbsUp.gif" width=12 border=0>&nbsp;<IMG style="CURSOR: pointer" onclick=vote(14187,0) height=11 alt="I dislike this quote" src="http://en.thinkexist.com/i/sq/ThumbsDwn.gif" width=12 border=0></SPAN><FONT class=sqq>“It's not the size of the dog in the fight, it's the size of the fight in the dog.”</FONT></TD></TR>  <TR>  <TD colSpan=2>  <div style="PADDING-TOP: 3px"><IMG title="Author Popularity 10/10" height=9 alt="" src="http://en.thinkexist.com/i/sq/as5.gif" width=11 align=middle>&nbsp;Mark Twain </div></TD></TR>  <TR>  <TD class=sql colSpan=2>  <div>&nbsp;</div>  <div>Count me in fellow cannies!!&nbsp; Let's do it!!</div> 
 <div>&nbsp;</div>  <div>I mean, I must have bought 30 Boss Products over the years, and&nbsp; have been more than happy with all of them but THIS is subpar for Boss/Roland!!</div>  <div>&nbsp;</div></TD></TR>  <TR>  <TD vAlign=top></TD></TR></TBODY></TABLE><BR><B><I>Tom Ritchford &lt;tom@swirly.com&gt;</I></B> wrote:  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">  <DIV>  <DIV class=gmail_quote>On Mon, Feb 25, 2008 at 6:10 PM, Chris Sewell &lt;<A href="mailto:lunamusic@mac.com">lunamusic@mac.com</A>&gt; wrote:<BR>  <BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">  <DIV style="WORD-WRAP: break-word">Yeah and midi sync doesn't work either. Problem is, Roland doesn't give a shit. They've said as much.&nbsp;  <DIV>  <DIV></DIV>  <DIV class=Wj3C7c></DIV></DIV></DIV></BLOCKQUOTE>  <DIV><BR class=webkit-block-placeholder></DIV>  <DIV>Do we have correspondence
 from them? &nbsp;Then we post that....</DIV>  <DIV><BR class=webkit-block-placeholder></DIV>  <DIV>So we humiliate them in public!</DIV>  <DIV><BR class=webkit-block-placeholder></DIV>  <DIV>  <DIV>If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU WON'T FIX THEM" then it will be bad PR for them. &nbsp;at least we get to cost them some $$$.... &nbsp;because if people really believe "they make crappy products they won't support" then they won't buy them!</DIV>  <DIV><BR class=webkit-block-placeholder></DIV>  <DIV><BR class=webkit-block-placeholder></DIV>  <DIV>I'd have recorded the damned video tonight but the ()#$ unit didn't emit sound in my gig.</DIV>  <DIV><BR class=webkit-block-placeholder></DIV>  <DIV>I have no idea why -- the read-out told me it was making sound but nothing. &nbsp;I worked around it. &nbsp;Pain in the ass!</DIV>  <DIV><BR></DIV></DIV>  <DIV>&nbsp;</DIV>  <BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px
 0.8ex; BORDER-LEFT: #ccc 1px solid">  <DIV style="WORD-WRAP: break-word">  <DIV>  <DIV class=Wj3C7c><BR>  <DIV>  <DIV>On Feb 25, 2008, at 5:40 PM, Tom Ritchford wrote:</DIV><BR>  <BLOCKQUOTE type="cite">  <DIV>So this is really annoying.</DIV>  <DIV><BR></DIV>  <DIV><SPAN style="FONT-WEIGHT: bold">Two big issues with the RC-50.</SPAN></DIV>  <DIV><BR></DIV>  <DIV>There are two issues with the RC-50 that undermine this otherwise really useful device.</DIV>  <DIV>  <OL>  <LI>the glitch on first loop.<BR></LI>  <LI>the time-stretching artefacts.<BR></LI></OL></DIV>  <DIV><BR></DIV>  <DIV><SPAN style="FONT-WEIGHT: bold">The time-stretching quality issue is harder to fix, perhaps less important.</SPAN></DIV>  <DIV><BR></DIV>  <DIV>Let's look at the second one quickly. &nbsp;This is pretty bad; &nbsp;it makes the time-stretching unusable for me at least. &nbsp;But it's almost usable, others would be fine with it, and it's just a specific sound; &nbsp;it's consistent.
 &nbsp;</DIV>  <DIV><BR></DIV>  <DIV>But more realistically, fixing time-stretching is hard. &nbsp;It's DSP. &nbsp;You need a serious grasp of mathematics. &nbsp;You can't just add a few if statements and have it all work. &nbsp;(I still bet I could make it sound better than that if I had a hack at the source code but I always think that...)</DIV>  <DIV><BR></DIV>  <DIV><BR></DIV>  <DIV>  <DIV><SPAN style="FONT-WEIGHT: bold">The loop glitch is much easier to fix and REALLY annoying.</SPAN></DIV>  <DIV><SPAN style="FONT-WEIGHT: bold"><BR></SPAN></DIV></DIV>  <DIV>The glitch is simply silly. &nbsp;I understand that when the box came out, they had a problem. &nbsp;But they had a rev. that *almost* fixed the issue, but not quite. &nbsp;What's with that? &nbsp;And this _isn't_ a hard issue, algorithmically. &nbsp;In fact, I don't really have a model of why there's any issue at all.(*) &nbsp;Still, that's certainly fixable with logic, not DSP -- in other words, you should be able
 to just "add a few if statements" and make it work.</DIV>  <DIV><BR></DIV>  <DIV>I understand realtime code is pretty hard in general but I stand by my evaluation that this must be problem that's feasible to solve without too much engineering time.</DIV>  <DIV><BR></DIV>  <DIV><BR></DIV>  <DIV><SPAN style="FONT-WEIGHT: bold">Power to the people!</SPAN></DIV>  <DIV><BR></DIV>  <DIV>So here's my suggestion. &nbsp;I think we should get together everyone who has an RC-50 and get them all to ask for a fix to BOTH issues -- but making clear that the glitch is the most important one.</DIV>  <DIV><BR></DIV>  <DIV>The reason we ask for both is that they are then sort of forced to give us one. &nbsp;:-D &nbsp;Always ask for more than you hope to get when you're negotiating.</DIV>  <DIV><BR></DIV>  <DIV><BR></DIV>  <DIV>We need to point out that the unit was flawed out of the box, we've stuck with it, and the supposed fix didn't really improve the time stretching, it helped the
 glitch but it's still there and it's been a long time.</DIV>  <DIV><BR></DIV>  <DIV><BR></DIV>  <DIV><SPAN style="FONT-WEIGHT: bold"><A href="http://looperglitch.com/" target=_blank>looperglitch.com</A></SPAN></DIV>  <DIV><BR></DIV>  <DIV>think think think. &nbsp;heh, here's what I'd do. &nbsp;I'd register a site called <A href="http://looperglitch.com/" target=_blank>looperglitch.com</A> and I'd put just text and embedded youtube videos from tons of musicians with someone demonstrating the problem with the glitch and the time stretching. &nbsp;Then everyone who owns the unit can contact Roland's tech support and send this URL; &nbsp;and we can post it to the appropriate music and support groups so it gets some publicity.</DIV>  <DIV><BR></DIV>  <DIV>I'll bet we could get it on music-thing at least.</DIV>  <DIV><BR></DIV>  <DIV><SPAN style="FONT-WEIGHT: bold">Possible ideas for the videos</SPAN></DIV>  <DIV><BR></DIV>  <DIV>The videos would be short and sweet; &nbsp;we
 need one where you compare the unit's performance with another Looper that does a really good job at it. &nbsp;</DIV>  <DIV><BR></DIV>  <DIV>For example you'd compare the Headrush with the RC-50 for the loop glitch, or with the Repeater for the time glitch. &nbsp;I know it's not entirely fair to use the Repeater, which is "best of show" for time stretching, but we really want to make our point.</DIV>  <DIV><BR></DIV>  <DIV>The ideal videos would have almost no speech in them. &nbsp;"This is the headrush. &nbsp;This is the RC-50.&nbsp;&nbsp;Headrush.&nbsp;RC-50" (you show the good one first so the contrast is more obvious...)</DIV>  <DIV><BR></DIV>  <DIV>Sorry for being so dogmatic and etc. in the last text. &nbsp;Feel free to ignore what I say... :-D</DIV>  <DIV><BR></DIV>  <DIV><BR></DIV>  <DIV><SPAN style="FONT-WEIGHT: bold">I can do a lot of this.</SPAN></DIV>  <DIV><BR></DIV>  <DIV>I can certainly do pretty well all of this, certainly setting up the site, myself.
 &nbsp;But there's no point if I'm just some&nbsp;</DIV>  <DIV><BR></DIV>  <DIV>I'll try to record some at my gig tonight, actually -- there's a camera there and I'll have all three of those units there to compare set up.&nbsp;</DIV>  <DIV><BR></DIV>  <DIV>&nbsp;It costs nada to have more videos, you should all record some. &nbsp;I can do a little magic to make sure that they appear in "random order" within each category so everyone gets a shot.</DIV>  <DIV><BR></DIV>  <DIV><BR></DIV>  <DIV><SPAN style="FONT-WEIGHT: bold">We need people to do this!</SPAN></DIV>  <DIV><BR></DIV>  <DIV>It doesn't have to be very many but it has to be more than one lone crank.</DIV>  <DIV><BR></DIV>  <DIV><BR></DIV>  <DIV>(* -- Oh, wait, I do. &nbsp;In these sorts of machines, you always need to be a little ahead of realtime. &nbsp;So they represent their sound in chunks of a fixed size for manipulation and then queue these up. &nbsp;Unfortunately, their queue implementation is lame and
 doesn't handle this specific case until the currently playing chunk is finished, though it gets the time calculations right.)</DIV>  <DIV><BR></DIV></BLOCKQUOTE></DIV><BR></DIV></DIV></DIV></BLOCKQUOTE></DIV><BR><BR clear=all><BR>-- <BR>/t<BR></DIV></BLOCKQUOTE><BR><p>&#32;
      <hr size=1>Looking for last minute shopping deals? <a href="http://us.rd.yahoo.com/evt=51734/*http://tools.search.yahoo.com/newsearch/category.php?category=shopping"> 
Find them fast with Yahoo! Search.</a>
--0-298933583-1204035838=:71064--

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Date: Tue, 26 Feb 2008 15:46:18 +0100
From: "Per Boysen" <perboysen@gmail.com>
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Subject: Re: multi effects unit
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On Tue, Feb 26, 2008 at 3:06 PM, Erdem Helvacioglu <erdemhel@tnn.net> wrote:
>
>
> Hi,
>
> Besides my "acoustic guitar and live electronics" with audiomulch setup, I
> began to work with a laptopless setup for electric guitar. For this setup, I
> use tc electronic fireworx, eventide eclipse, lexicon mpx100 as hardware
> multi effects processor. I was wondering if any of you could recommend other
> multi effects processor with very wild effects.


I have been using both the Eclipse and the Eventide, so my guess is
that you find them "sweet" and now your are looking for something more
"rough" or even a bit "evil" - is that so?

Analog has always been "wild"... ("wild" for me is going for the
spectacular). For a couple of years I had an AKAI MFC42 filter bank
that I found very nice, not only for guitar. It has those deep and
shrieking resonance filters that can easily blow loudspeakers if you
don't tweak them carefully. And the distortion is mean; not sounding
like "guitar rig distortion" at all. If it hadn't been forced to, by
lack of income, I had never sold that Akai.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

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Date: Tue, 26 Feb 2008 06:57:46 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Let's complain to Roland en masse! (was Re: Boss RC50 delay issues)
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The correspondance was posted here over a *year* ago:



-------------------------------------------

had a late answer from roland support in the us regarding the rc50....but i
have already let the matter go in my mind....still interesting tho.......he
sounds a bit worn down by my questions...

"The RC-50 has had a few quirks in its short life. One, a short skip in the
audio playback upon using it live to loop, was addressed in an update. These

updates come from Japan where the product is designed, developed and
manufactured. When they get to the US, they are complete and ready to go on
the shelf. If they need fixes, such as the RC-50 needed, it requires us to
contact Roland Japan and ask their engineers to stop the development on
upcoming products and to turn their attention to developing this software
update. Needless to say, it can sometimes be difficult to convince our
parent company that they NEED to do something for us. Although we here at
Roland US seem like we own and operate the entire Roland world, the real
truth is that we are merely distributors of the Roland brand here in the US.

We are the Guitar Center that ONLY sells Roland, you could say.

Anyhow, long explanations aside, this is the reason behind the "That is the
way it works" answer you seem to keep getting. We don't HAVE engineers here
in the US that we can tell to "get on it" or to devote to, what we consider,

an important update. We don't have a way to fix this problem you are having
and it seems that we may not have a way in the near future. We were very
lucky to get the one update we did receive and it would seem that there are
no more coming down the pipeline. I realize this may be a little
disillusioning for you, but I guess sometimes the truth can do that. In the
end, if the pedal seems unstable and unusable to you, it may not be the
product for you.

Again, sorry for the lengthy message, but you seemed to want a rock solid
answer. This explanation is literally THE best answer you can get from
anyone in the entire US on this product.
I hope that this helps answer your request. If you need more assistance in
this matter, please either re-submit your support request or contact our
Product Support Department at the appropriate number:

Digital Recorders and Mixers: 323-890-3741
Guitar/Percussion Products: 323-890-3743
Pianos, Organs, Arrangers: 323-890-3744
Synths/Sound Modules/Groove Products: 323-890-3745
Product Support Main: 323-890-3740

Sincerely,
Roland Product Support"

On Tue, Feb 26, 2008 at 12:24 AM, Tom Ritchford <tom@swirly.com> wrote:

> On Mon, Feb 25, 2008 at 6:10 PM, Chris Sewell <lunamusic@mac.com> wrote:
>
> >  Yeah and midi sync doesn't work either. Problem is, Roland doesn't give
> > a shit. They've said as much.
> >
>
> Do we have correspondence from them?  Then we post that....
>
>
>

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The correspondance was posted here over a *year* ago:<br><br><br>
<br>-------------------------------------------
<br>
<br>had a late answer from roland support in the us regarding the rc50....but i
<br>have already let the matter go in my mind....still interesting tho.......he
<br>sounds a bit worn down by my questions...
<br>
<br>&quot;The RC-50 has had a few quirks in its short life. One, a short skip in the
<br>audio playback upon using it live to loop, was addressed in an update. These
<br>updates come from Japan where the product is designed, developed and
<br>manufactured. When they get to the US, they are complete and ready to go on
<br>the shelf. If they need fixes, such as the RC-50 needed, it requires us to
<br>contact Roland Japan and ask their engineers to stop the development on
<br>upcoming products and to turn their attention to developing this software
<br>update. Needless to say, it can sometimes be difficult to convince our
<br>parent company that they NEED to do something for us. Although we here at
<br>Roland US seem like we own and operate the entire Roland world, the real
<br>truth is that we are merely distributors of the Roland brand here in the US.
<br>We are the Guitar Center that ONLY sells Roland, you could say.
<br>
<br>Anyhow, long explanations aside, this is the reason behind the &quot;That is the
<br>way it works&quot; answer you seem to keep getting. We don&#39;t HAVE engineers here
<br>in the US that we can tell to &quot;get on it&quot; or to devote to, what we consider,
<br>an important update. We don&#39;t have a way to fix this problem you are having
<br>and it seems that we may not have a way in the near future. We were very
<br>lucky to get the one update we did receive and it would seem that there are
<br>no more coming down the pipeline. I realize this may be a little
<br>disillusioning for you, but I guess sometimes the truth can do that. In the
<br>end, if the pedal seems unstable and unusable to you, it may not be the
<br>product for you.
<br>
<br>Again, sorry for the lengthy message, but you seemed to want a rock solid
<br>answer. This explanation is literally THE best answer you can get from
<br>anyone in the entire US on this product.
<br>I hope that this helps answer your request. If you need more assistance in
<br>this matter, please either re-submit your support request or contact our
<br>Product Support Department at the appropriate number:
<br>
<br>Digital Recorders and Mixers: 323-890-3741
<br>Guitar/Percussion Products: 323-890-3743
<br>Pianos, Organs, Arrangers: 323-890-3744
<br>Synths/Sound Modules/Groove Products: 323-890-3745
<br>Product Support Main: 323-890-3740
<br>
<br>Sincerely,
<br>Roland Product Support&quot;<br><br><div class="gmail_quote">On Tue, Feb 26, 2008 at 12:24 AM, Tom Ritchford &lt;<a href="mailto:tom@swirly.com">tom@swirly.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div><div class="gmail_quote"><div class="Ih2E3d">On Mon, Feb 25, 2008 at 6:10 PM, Chris Sewell &lt;<a href="mailto:lunamusic@mac.com" target="_blank">lunamusic@mac.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">

<div style="">
Yeah and midi sync doesn&#39;t work either. Problem is, Roland doesn&#39;t give a shit. They&#39;ve said as much.&nbsp;<div><div></div><div></div></div></div></blockquote><div><br>
</div></div><div>Do we have correspondence from them? &nbsp;Then we post that....</div><div><br></div><br></div></div></blockquote></div><br>

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Date: Tue, 26 Feb 2008 10:04:46 -0500
From: "Tony K" <bigtonyk@gmail.com>
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Subject: Re: multi effects unit
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> Besides my "acoustic guitar and live electronics" with audiomulch setup, I
> began to work with a laptopless setup for electric guitar. For this setup, I
> use tc electronic fireworx, eventide eclipse, lexicon mpx100 as hardware
> multi effects processor. I was wondering if any of you could recommend other
> multi effects processor with very wild effects.

A Vortex is great, the Alesis ModFX are wild, but they aren't multifx.
 And they are getting expensive these days (on ebay.)

-- 
-==-=-=-
Tony

From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 15:32:50 2008
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Subject: Re: multi effects unit
Date: Tue, 26 Feb 2008 08:32:45 -0700
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Boss VF-1. Little red half rack box. Maybe you should consider the Muse =
Receptor? You can load tons of VST effects on it and soon belittle any =
array of hardware processors in terms of possibilities.

K-

Krispen Hartung
http://www.krispenhartung.com
http://www.myspace.com/krispenhartung=20
info@krispenhartung.com
=20

  Besides my "acoustic guitar and live electronics" with audiomulch =
setup, I began to work with a laptopless setup for electric guitar. For =
this setup, I use tc electronic fireworx, eventide eclipse, lexicon =
mpx100 as hardware multi effects processor. I was wondering if any of =
you could recommend other multi effects processor with very wild =
effects.

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<DIV><FONT face=3DArial size=3D2>Boss VF-1. Little red half rack box. =
Maybe you=20
should consider the Muse Receptor? You can load tons of VST effects on =
it and=20
soon belittle any array of hardware processors in terms of=20
possibilities.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>K-</FONT></DIV>
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<P><FONT face=3D"Arial, Helvetica, sans-serif" size=3D2>Krispen =
Hartung<BR><A=20
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target=3D_front>http://www.krispenhartung.com</A><BR><A=20
href=3D"http://www.myspace.com/krispenhartung">http://www.myspace.com/kri=
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<BR><A=20
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  <DIV>Besides my "acoustic guitar and live electronics" with audiomulch =
setup,=20
  I began to work with a laptopless setup for electric guitar. For this =
setup, I=20
  use tc electronic fireworx, eventide eclipse, lexicon mpx100&nbsp;as =
hardware=20
  multi effects processor. I was wondering if any of you could recommend =
other=20
  multi effects processor with very wild effects.</DIV>
  <DIV><FONT face=3DArial =
size=3D2></FONT>&nbsp;</DIV></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 16:45:26 2008
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Date: Tue, 26 Feb 2008 8:45:21 -0800
From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
Subject: Re: multi effects unit
Cc: Erdem Helvacioglu <erdemhel@tnn.net>
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Howdy Erdem,

I have found interesting sounds in the Lexicon Vortex, Alesis Akira (basica=
lly all of the their Mod FX stuffed in one MIDI contollable box) and The Ro=
land/Boss VF-1.

Unfortunately these are all obsoleted units (no longer made or supported by=
 their makers) and fairly rare.

However, rare does not mean expensive as they all can be found regularly on=
 Ebay from time to time.

Fo myself, after 10 years of using it, the Vortex is an essential part of m=
y pre-loop sound making scheme and I have really come to appreciate the Aki=
ra as a post-loop processor.

I own 2 of each.

Cheers,

tEd =C2=AE kiLLiAn

"Different is not always better, but better is always different"

Flux Aeterna: http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?p=
layListId=3D6378076=20

Also check out the BEMF 1 CDs at: http://www.boisemusicians.com/experimenta=
l/cd.htm

http://www.pfmentum.com/flux.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.garageband.com/artist/ArsOcarina
http://www.netmusic.com/web/album.aspx?a_id=3DCBNM_17314
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://www.loopers-delight.com/cgi-bin/profiles.cgi?step=3Dview_profile&id=
=3D121197000042
http://www.guitarplayer.com/story.asp?storyCode=3D18131

Ted Killian's "Flux Aeterna" is also available at: Apple iTunes,
BuyMusic, Rhapsody, MusicMatch, MusicNet, DiscLogic, Napster,
AudioLunchbox, Lindows, QTRnote, Music4Cents, Etherstream,
RuleRadio, EMEPE3, Sony Connect, CatchMusic, Puretracks,
and Viztas. Yadda, yadda, yadda. Blah, blah, blah. So???

---- Erdem Helvacioglu <erdemhel@tnn.net> wrote:=20
> Hi,
>=20
> Besides my "acoustic guitar and live electronics" with audiomulch setup, =
I began to work with a laptopless setup for electric guitar. For this setup=
, I use tc electronic fireworx, eventide eclipse, lexicon mpx100 as hardwar=
e multi effects processor. I was wondering if any of you could recommend ot=
her multi effects processor with very wild effects.
>=20
> Thanks and best regards.
>=20
> Erdem Helvacioglu
> www.erdemhelvacioglu.com
> www.myspace.com/erdemhelvacioglu
> * * * * * * * * * * * * * * * * * * * *
> "Altered Realities" album is out on New Albion Records:
> chosen as"Album of the year 2007" by All About Jazz Magazine
> www.newalbion.com/NA131
> www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D8-1=
/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8

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Date: Tue, 26 Feb 2008 09:02:20 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Alesis Akira, does it do the Bitrman Bit Crusher effect? (Was Re: multi effects unit)
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Hi Ted,

I don't know how this one slipped by me--I'd never heard of the Akira.
Does it do the Bitrman bit crusher and other distortion effects? A
midi controlled bitrman could really wreak havoc : )

On Tue, Feb 26, 2008 at 8:45 AM, tEd (R) kiLLiAn <tedkillian@charter.net> wrote:
> Howdy Erdem,
>
>  I have found interesting sounds in the Lexicon Vortex, Alesis Akira (basically all of the their Mod FX stuffed in one MIDI contollable box)
>



-- 
Art Simon
simart@null.net
art.simon.tripod.com
myspace [dot] com/artsimon

From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 18:36:10 2008
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Subject: Electro Harmonix help
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I have? been trying to find out if there is a way to use two of the 16 second Reissue delays units with one remote foot switch.
I have called Electro Harmonix several times and they never return my calls.

Does any one know how the foot controller works and a way for it to be happy seeing two units.

Thanks Bill



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<div> <br>
</div>
<font face="Arial, Helvetica, sans-serif">I have&nbsp; been trying to find out if there is a way to use two of the 16 second Reissue delays units with one remote foot switch.<br>
I have called Electro Harmonix several times and they never return my calls.<br>
<br>
Does any one know how the foot controller works and a way for it to be happy seeing two units.<br>
<br>
Thanks Bill<br>
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 18:56:25 2008
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Date: Tue, 26 Feb 2008 13:56:14 -0500
To: Loopers-Delight@loopers-delight.com
From: Charles Zwicky <cazwicky@earthlink.net>
Subject: Re: Electro Harmonix help
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The EH foot controller for the reissue 16 second delay is the same as 
the footcontroller for the 2880 but very very different than the 
original 16 second delay controller.

The new style controller uses a microcontroller sending serial data 
to the unit and powered by the unit.
  I think a simple passive A/B selector would be all you need to have 
independant control of two units. It is possible that the unit could 
also drive two units simultaneously, but  I only have one 16 sec and 
one 2880 and these are mapped differently so I cannot test it.....

>I have  been trying to find out if there is a way to use two of the 
>16 second Reissue delays units with one remote foot switch.
>I have called Electro Harmonix several times and they never return my calls.
>
>Does any one know how the foot controller works and a way for it to 
>be happy seeing two units.
>
>Thanks Bill
>
>
>More new features than ever. Check out the new 
><http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=aolcmp00050000000003>AOL 
>Mail!


-- 
...
http://www.zmix.net
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<!doctype html public "-//W3C//DTD W3 HTML//EN">
<html><head><style type="text/css"><!--
blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 }
 --></style><title>Re: Electro Harmonix help</title></head><body>
<div>The EH foot controller for the reissue 16 second delay is the
same as the footcontroller for the 2880 but very very different than
the original 16 second delay controller. </div>
<div><br></div>
<div>The new style controller uses a microcontroller sending serial
data to the unit and powered by the unit.</div>
<div>&nbsp;I think a simple passive A/B selector would be all you need
to have independant control of two units. It is possible that the unit
could also drive two units simultaneously, but&nbsp; I only have one
16 sec and one 2880 and these are mapped differently so I cannot test
it.....</div>
<div><br></div>
<blockquote type="cite" cite>I have&nbsp; been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.<br>
I have called Electro Harmonix several times and they never return my
calls.<br>
<br>
Does any one know how the foot controller works and a way for it to be
happy seeing two units.<br>
<br>
Thanks Bill<br>
</blockquote>
<blockquote type="cite" cite>
<hr></blockquote>
<blockquote type="cite" cite>More new features than ever. Check out
the new <a
href=
"http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=aolcmp00050000000003"><span
></span>AOL Mail</a>!</blockquote>
<div><br></div>
<div><br></div>
<x-sigsep><pre>-- 
</pre></x-sigsep>
<div>...<br>
http://www.zmix.net</div>
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 19:01:58 2008
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Date: Tue, 26 Feb 2008 14:01:56 -0500
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On Tue, Feb 26, 2008 at 4:34 AM, doc rossi <docittern@gmail.com> wrote:

> On Feb 26, 2008, at 9:24 AM, Tom Ritchford wrote:
>
> > If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU
> > WON'T FIX THEM" then it will be bad PR for them.  at least we get to
> > cost them some $$$....  because if people really believe "they make
> > crappy products they won't support" then they won't buy them!
>
> I appreciate the idea, but I'm not sure they are worried about PR -


There isn't a company in the world that sells to consumers that isn't
worried about PR.  I mean, they care enough to put out their own magazine.

Believe you me, this is the sort of conversation that companies are
terrified of:

"I'm going to get a Roland xxx"
"Oh, my friend had endless trouble with Roland's yyy -- don't do it."

Whole companies have collapsed based on that sort of thing.

If you read the explanation from tech support, it's really dishonest.  They
don't want to fix their old products because they're busy making new
products.  In other words, it's a massive con to get your money with
products that don't work, and they'll never fix.

So.  I'll set up the domain, and make some movies.  My movies probably won't
come for a week, as even though I have a nice camera, it stays near the
gig....  so get on your movies.


I'm also realizing that it might be fun to sue them in small claims court...
as it isn't very time-consuming for me, and they probably won't show up to
contest it.

I have a particular hatred of being ripped off by large corporations because
you know they're doing it to thousands of others.

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<br><br><div class="gmail_quote">On Tue, Feb 26, 2008 at 4:34 AM, doc rossi &lt;<a href="mailto:docittern@gmail.com">docittern@gmail.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div class="Ih2E3d">On Feb 26, 2008, at 9:24 AM, Tom Ritchford wrote:<br>
<br>
&gt; If we make a big fuss, saying, &quot;YOUR UNIT HAS SERIOUS ISSUES AND YOU<br>
</div><div class="Ih2E3d">&gt; WON&#39;T FIX THEM&quot; then it will be bad PR for them. &nbsp;at least we get to<br>
&gt; cost them some $$$.... &nbsp;because if people really believe &quot;they make<br>
&gt; crappy products they won&#39;t support&quot; then they won&#39;t buy them!<br>
<br>
</div>I appreciate the idea, but I&#39;m not sure they are worried about PR -</blockquote><div><br>There isn&#39;t a company in the world that sells to consumers that isn&#39;t worried about PR.&nbsp; I mean, they care enough to put out their own magazine.<br>
<br>Believe you me, this is the sort of conversation that companies are terrified of:<br><br>&quot;I&#39;m going to get a Roland xxx&quot;<br>&quot;Oh, my friend had endless trouble with Roland&#39;s yyy -- don&#39;t do it.&quot;<br>
<br>Whole companies have collapsed based on that sort of thing.<br><br>If you read the explanation from tech support, it&#39;s really dishonest.&nbsp; They don&#39;t want to fix their old products because they&#39;re busy making new products.&nbsp; In other words, it&#39;s a massive con to get your money with products that don&#39;t work, and they&#39;ll never fix.<br>
<br></div></div>So.&nbsp; I&#39;ll set up the domain, and make some movies.&nbsp; My movies probably won&#39;t come for a week, as even though I have a nice camera, it stays near the gig....&nbsp; so get on your movies.<br><br><br>I&#39;m also realizing that it might be fun to sue them in small claims court... as it isn&#39;t very time-consuming for me, and they probably won&#39;t show up to contest it.<br>
<br>I have a particular hatred of being ripped off by large corporations because you know they&#39;re doing it to thousands of others.<br><br>

------=_Part_217_30496669.1204052516269--

From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 19:35:41 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Electro Harmonix help
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 Thanks,
I did try to drive both units in parallel and it just would not work.
It would be a poor mans stereo sync if I could find away to do it.

Bill


 


 

-----Original Message-----
From: Charles Zwicky <cazwicky@earthlink.net>
To: Loopers-Delight@loopers-delight.com
Sent: Tue, 26 Feb 2008 12:56 pm
Subject: Re: Electro Harmonix help












The EH foot controller for the reissue 16 second delay is the
same as the footcontroller for the 2880 but very very different than
the original 16 second delay controller. 






The new style controller uses a microcontroller sending serial
data to the unit and powered by the unit.


?I think a simple passive A/B selector would be all you need
to have independant control of two units. It is possible that the unit
could also drive two units simultaneously, but? I only have one
16 sec and one 2880 and these are mapped differently so I cannot test
it.....






I have? been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.

I have called Electro Harmonix several times and they never return my
calls.



Does any one know how the foot controller works and a way for it to be
happy seeing two units.



Thanks Bill










More new features than ever. Check out
the new AOL Mail!










-- 



...

http://www.zmix.net


 


________________________________________________________________________
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<div> <font face="Arial, Helvetica, sans-serif">Thanks,<br>
I did try to drive both units in parallel and it just would not work.<br>
It would be a poor mans stereo sync if I could find away to do it.<br>
<br>
Bill<br>
</font></div>

<div> <br>
</div>

<div> <br>
</div>
-----Original Message-----<br>
From: Charles Zwicky &lt;cazwicky@earthlink.net&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Tue, 26 Feb 2008 12:56 pm<br>
Subject: Re: Electro Harmonix help<br>
<br>






<div id="AOLMsgPart_2_e669f473-f49e-421b-8af1-6f3b7d7e91a7">


<style type="text/css">#AOLMsgPart_2_e669f473-f49e-421b-8af1-6f3b7d7e91a7 <!-- blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 }  --></style>

<div>The EH foot controller for the reissue 16 second delay is the
same as the footcontroller for the 2880 but very very different than
the original 16 second delay controller. </div>


<div><br>
</div>


<div>The new style controller uses a microcontroller sending serial
data to the unit and powered by the unit.</div>


<div>&nbsp;I think a simple passive A/B selector would be all you need
to have independant control of two units. It is possible that the unit
could also drive two units simultaneously, but&nbsp; I only have one
16 sec and one 2880 and these are mapped differently so I cannot test
it.....</div>


<div><br>
</div>

<blockquote type="cite">I have&nbsp; been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.<br>

I have called Electro Harmonix several times and they never return my
calls.<br>

<br>

Does any one know how the foot controller works and a way for it to be
happy seeing two units.<br>

<br>

Thanks Bill<br>

</blockquote>
<blockquote type="cite">
<hr></blockquote>
<blockquote type="cite">More new features than ever. Check out
the new <a target="_blank" href="http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=aolcmp00050000000003"><span></span>AOL Mail</a>!</blockquote>

<div><br>
</div>


<div><br>
</div>

<pre>-- <br>
</pre>

<div>...<br>

<a href="http://www.zmix.net" target="_blank">http://www.zmix.net</a></div>

</div>
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 19:56:14 2008
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Date: Tue, 26 Feb 2008 14:56:05 -0500
To: Loopers-Delight@loopers-delight.com
From: Charles Zwicky <cazwicky@earthlink.net>
Subject: Re: Electro Harmonix help
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Try isolating the 'tip' connector with a=20
capacitor (.01=B5f or larger should do) on the=20
cable to ONE of the units... this will block the=20
DC but allow the serial data to pass....


>Thanks,
>I did try to drive both units in parallel and it just would not work.
>It would be a poor mans stereo sync if I could find away to do it.
>
>Bill
>
>
>
>-----Original Message-----
>From: Charles Zwicky <cazwicky@earthlink.net>
>To: Loopers-Delight@loopers-delight.com
>Sent: Tue, 26 Feb 2008 12:56 pm
>Subject: Re: Electro Harmonix help
>
>#AOLMsgPart_2_e669f473-f49e-421b-8af1-6f3b7d7e91a7
>The EH foot controller for the reissue 16 second=20
>delay is the same as the footcontroller for the=20
>2880 but very very different than the original=20
>16 second delay controller.
>
>The new style controller uses a microcontroller=20
>sending serial data to the unit and powered by=20
>the unit.
>  I think a simple passive A/B selector would be=20
>all you need to have independant control of two=20
>units. It is possible that the unit could also=20
>drive two units simultaneously, but  I only have=20
>one 16 sec and one 2880 and these are mapped=20
>differently so I cannot test it.....
>
>>I have  been trying to find out if there is a=20
>>way to use two of the 16 second Reissue delays=20
>>units with one remote foot switch.
>>I have called Electro Harmonix several times and they never return my call=
s.
>>
>>Does any one know how the foot controller works=20
>>and a way for it to be happy seeing two units.
>>
>>Thanks Bill
>>
>>
>>More new features than ever. Check out the new=20
>><http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=
=3Daolcmp00050000000003>AOL=20
>>Mail!
>>
>
>
>--
>
>...
><http://www.zmix.net>http://www.zmix.net
>
>More new features than ever. Check out the new=20
><http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=
=3Daolcmp00050000000003>AOL=20
>Mail!


-- 
=2E..
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<html><head><style type=3D"text/css"><!--
blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 }
 --></style><title>Re: Electro Harmonix help</title></head><body>
<div>Try isolating the 'tip' connector with a capacitor (.01=B5f or
larger should do) on the cable to ONE of the units... this will block
the DC but allow the serial data to pass....</div>
<div><br></div>
<div><br></div>
<blockquote type=3D"cite" cite>Thanks,<br>
I did try to drive both units in parallel and it just would not
work.<br>
It would be a poor mans stereo sync if I could find away to do it.<br>
<br>
Bill<br>
</blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite>-----Original Message-----<br>
=46rom: Charles Zwicky &lt;cazwicky@earthlink.net&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Tue, 26 Feb 2008 12:56 pm<br>
Subject: Re: Electro Harmonix help<br>
</blockquote>
<blockquote type=3D"cite"
cite>#AOLMsgPart_2_e669f473-f49e-421b-8af1-6f3b7d7e91a7</blockquote>
<blockquote type=3D"cite" cite>The EH foot controller for the reissue 16
second delay is the same as the footcontroller for the 2880 but very
very different than the original 16 second delay
controller.</blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite>The new style controller uses a
microcontroller sending serial data to the unit and powered by the
unit.</blockquote>
<blockquote type=3D"cite" cite>&nbsp;I think a simple passive A/B
selector would be all you need to have independant control of two
units. It is possible that the unit could also drive two units
simultaneously, but&nbsp; I only have one 16 sec and one 2880 and
these are mapped differently so I cannot test it.....</blockquote>
<blockquote type=3D"cite" cite><br>
<blockquote type=3D"cite" cite>I have&nbsp; been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.<br>
I have called Electro Harmonix several times and they never return my
calls.<br>
<br>
Does any one know how the foot controller works and a way for it to be
happy seeing two units.<br>
<br>
Thanks Bill<br>
</blockquote>
<blockquote type=3D"cite" cite>
<hr></blockquote>
<blockquote type=3D"cite" cite>More new features than ever. Check out
the new <a
href=3D
"http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=3D=
aolcmp00050000000003"><span
></span>AOL Mail</a>!<br>
</blockquote>
</blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite><tt>--</tt><br>
<tt></tt></blockquote>
<blockquote type=3D"cite" cite>...<br>
<a href=3D"http://www.zmix.net">http://www.zmix.net</a></blockquote>
<blockquote type=3D"cite" cite>
<hr></blockquote>
<blockquote type=3D"cite" cite>More new features than ever. Check out
the new <a
href=3D
"http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=3D=
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></span>AOL Mail</a>!</blockquote>
<div><br></div>
<div><br></div>
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</pre></x-sigsep>
<div>...<br>
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 19:59:55 2008
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Date: Tue, 26 Feb 2008 13:59:53 -0600
From: "Bryce Avary" <bryceavary@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Important Echoplex Brother Syncing question
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Hey guys,
Recently I purchased 4 echoplex digital pros with 4 foot switches.  I
am in a full time touring band and am about to incorporate a looping
section in our set where I start on the drums record a beat, then
bass, then guitar/keys etc making a song in front of the crowd from
scratch.  Yesterday when I opened my new echoplexes i turned them on
and started looping and having not synced them up at all, I found that
it worked but it could easily sound just a hair off.  I read in the
manual that by using the brother sync and y cables you can hook up
many echo plexes and have it be sound tight.  However it doesnt show
how to hook up more than just one.  So my question is,

If you have 4 echo plexes that you want all synced together, how do
you hook them up to eachother and using what cables?

I have contacted gibson and other people and have yet to hear back
from anyone.  If anyone knows this answer, I would be forever grateful
as we are in a time crunch!  Thanks so much!

From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 20:21:11 2008
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References: <407891.39333.qm@web26203.mail.ukl.yahoo.com> <d1396fc00802251129l6441aff0u4c29e0c0cfb2d1be@mail.gmail.com> <8CA46BD850B40AF-53C-234C@FWM-D25.sysops.aol.com> <p06230900c3ea0f95b8dd@[24.215.166.178]> <8CA46C5D01440AD-53C-2725@FWM-D25.sysops.aol.com> <p06230900c3ea1ef15299@[24.215.166.178]>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Electro Harmonix help
Date: Tue, 26 Feb 2008 15:20:52 -0500
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 Great idea!=20
I will try it.
Thank you,
Bill


=20


=20

-----Original Message-----
From: Charles Zwicky <cazwicky@earthlink.net>
To: Loopers-Delight@loopers-delight.com
Sent: Tue, 26 Feb 2008 1:56 pm
Subject: Re: Electro Harmonix help












Try isolating the 'tip' connector with a capacitor (.01=C2=B5f or
larger should do) on the cable to ONE of the units... this will block
the DC but allow the serial data to pass....










Thanks,

I did try to drive both units in parallel and it just would not
work.

It would be a poor mans stereo sync if I could find away to do it.



Bill












-----Original Message-----

From: Charles Zwicky <cazwicky@earthlink.net>

To: Loopers-Delight@loopers-delight.com

Sent: Tue, 26 Feb 2008 12:56 pm

Subject: Re: Electro Harmonix help




#AOLMsgPart_2_e669f473-f49e-421b-8af1-6f3b7d7e91a7


The EH foot controller for the reissue 16
second delay is the same as the footcontroller for the 2880 but very
very different than the original 16 second delay
controller.






The new style controller uses a
microcontroller sending serial data to the unit and powered by the
unit.


=C2=A0I think a simple passive A/B
selector would be all you need to have independant control of two
units. It is possible that the unit could also drive two units
simultaneously, but=C2=A0 I only have one 16 sec and one 2880 and
these are mapped differently so I cannot test it.....





I have=C2=A0 been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.

I have called Electro Harmonix several times and they never return my
calls.



Does any one know how the foot controller works and a way for it to be
happy seeing two units.



Thanks Bill










More new features than ever. Check out
the new AOL Mail!














--




...

http://www.zmix.net








More new features than ever. Check out
the new AOL Mail!










--=20



...

http://www.zmix.net


=20


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.=
aol.com

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<div> <font face=3D"Arial, Helvetica, sans-serif">Great idea! <br>
I will try it.<br>
Thank you,<br>
Bill<br>
</font></div>

<div> <br>
</div>

<div> <br>
</div>
-----Original Message-----<br>
From: Charles Zwicky &lt;cazwicky@earthlink.net&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Tue, 26 Feb 2008 1:56 pm<br>
Subject: Re: Electro Harmonix help<br>
<br>






<div id=3D"AOLMsgPart_2_f63d3ad6-10fd-42b3-8e86-2c75e9be34ec">


<style type=3D"text/css">#AOLMsgPart_2_f63d3ad6-10fd-42b3-8e86-2c75e9be34ec=20=
<!--blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 } --></s=
tyle>

<div>Try isolating the 'tip' connector with a capacitor (.01=C2=B5f or
larger should do) on the cable to ONE of the units... this will block
the DC but allow the serial data to pass....</div>


<div><br>
</div>


<div><br>
</div>

<blockquote type=3D"cite">Thanks,<br>

I did try to drive both units in parallel and it just would not
work.<br>

It would be a poor mans stereo sync if I could find away to do it.<br>

<br>

Bill<br>

</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite">-----Original Message-----<br>

From: Charles Zwicky &lt;<a href=3D"mailto:cazwicky@earthlink.net">cazwicky@=
earthlink.net</a>&gt;<br>

To: <a href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@l=
oopers-delight.com</a><br>

Sent: Tue, 26 Feb 2008 12:56 pm<br>

Subject: Re: Electro Harmonix help<br>

</blockquote>
<blockquote type=3D"cite">#AOLMsgPart_2_e669f473-f49e-421b-8af1-6f3b7d7e91a7=
</blockquote>
<blockquote type=3D"cite">The EH foot controller for the reissue 16
second delay is the same as the footcontroller for the 2880 but very
very different than the original 16 second delay
controller.</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite">The new style controller uses a
microcontroller sending serial data to the unit and powered by the
unit.</blockquote>
<blockquote type=3D"cite">&nbsp;I think a simple passive A/B
selector would be all you need to have independant control of two
units. It is possible that the unit could also drive two units
simultaneously, but&nbsp; I only have one 16 sec and one 2880 and
these are mapped differently so I cannot test it.....</blockquote>
<blockquote type=3D"cite"><br>

<blockquote type=3D"cite">I have&nbsp; been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.<br>

I have called Electro Harmonix several times and they never return my
calls.<br>

<br>

Does any one know how the foot controller works and a way for it to be
happy seeing two units.<br>

<br>

Thanks Bill<br>

</blockquote>
<blockquote type=3D"cite">
<hr></blockquote>
<blockquote type=3D"cite">More new features than ever. Check out
the new <a target=3D"_blank" href=3D"http://o.aolcdn.com/cdn.webmail.aol.com=
/mailtour/aol/en-us/text.htm?ncid=3Daolcmp00050000000003"><span></span>AOL M=
ail</a>!<br>

</blockquote>
</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite"><tt>--</tt><br>

<tt></tt></blockquote>
<blockquote type=3D"cite">...<br>

<a target=3D"_blank" href=3D"http://www.zmix.net">http://www.zmix.net</a></b=
lockquote>
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ail</a>!</blockquote>

<div><br>
</div>


<div><br>
</div>

<pre>-- <br>
</pre>

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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 21:17:26 2008
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To:  Loopers-Delight@loopers-delight.com
Subject: Re: Important Echoplex Brother Syncing question
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Bryce Avary wrote:

> it worked but it could easily sound just a hair off.  I read in the
> manual that by using the brother sync and y cables you can hook up
> many echo plexes and have it be sound tight.  However it doesnt show
> how to hook up more than just one.  So my question is,
> 
> If you have 4 echo plexes that you want all synced together, how do
> you hook them up to eachother and using what cables?

A Y cable is actually the answer for 3 EDPs.

Just connect all the  bro-syncs in parallel for any number of edps.
( an X cable??, or would it be an 'N' cable?)
 
Or make yourself a "hub" .
4 stereo jack sockets in a box with all connectors paralleled.

andy butler 

From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 21:48:15 2008
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Date: Tue, 26 Feb 2008 15:48:07 -0500
From: Scott Duncan <scottd@webworkz.com>
Subject: Electronic Musician arrived
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Page 23  --  I see a looper !

Yes, the March EM issue has arrived.

Congratulations Zoe. I'm sure you'd already "arrived" -- this just  
brings more folks to be aware of it.

I'll wait a lot longer before adding it to the 3 & 1/2 foot stack of  
past EM's  ( & Synapse's ) etc...

Best wishes; musically well-deserved.....


Scott Duncan








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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">Page 23 =A0-- =A0I=A0see a =
looper !=A0<DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>Yes, =
the March EM issue has arrived.<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Congratulations Zoe. I'm =
sure you'd already "arrived" -- this just brings more folks to be aware =
of it.</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>I'll =
wait a lot longer before adding it to the 3 &amp; 1/2 foot stack of past =
EM's=A0 ( &amp; Synapse's ) etc...</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Best wishes; musically =
well-deserved.....=A0<DIV><SPAN class=3D"Apple-style-span" =
style=3D"border-collapse: separate; border-spacing: 0px 0px; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; text-align: auto; =
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-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
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normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
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font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 22:50:14 2008
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Subject: Re: Electro Harmonix help
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=20

Charles,

Tried a .1 bypass on the tip and no luck=20

It shuts down the foot controller until I remove the connection.















Try isolating the 'tip' connector with a capacitor (.01=C2=B5f or
larger should do) on the cable to ONE of the units... this will block
the DC but allow the serial data to pass....










Thanks,

I did try to drive both units in parallel and it just would not
work.

It would be a poor mans stereo sync if I could find away to do it.



Bill








The EH foot controller for the reissue 16
second delay is the same as the footcontroller for the 2880 but very
very different than the original 16 second delay
controller.






The new style controller uses a
microcontroller sending serial data to the unit and powered by the
unit.


=C2=A0I think a simple passive A/B
selector would be all you need to have independant control of two
units. It is possible that the unit could also drive two units
simultaneously, but=C2=A0 I only have one 16 sec and one 2880 and
these are mapped differently so I cannot test it.....





I have=C2=A0 been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.

I have called Electro Harmonix several times and they never return my
calls.



Does any one know how the foot controller works and a way for it to be
happy seeing two units.



Thanks Bill







--




...

http://www.zmix.net








More new features than ever. Check out
the new AOL Mail!










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...

http://www.zmix.net


=20


________________________________________________________________________
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<div> <br>
</div>
<font face=3D"Arial, Helvetica, sans-serif">Charles,<br>

Tried a .1 bypass on the tip and no luck <br>

It shuts down the foot controller until I remove the connection.<br>

</font><font face=3D"Arial, Helvetica, sans-serif"><br>
</font><font face=3D"Arial, Helvetica, sans-serif"></font><br>
<br>






<div id=3D"AOLMsgPart_2_66521cb6-3b3d-48f6-ba3e-a94f177f96e3">


<style type=3D"text/css">#AOLMsgPart_2_66521cb6-3b3d-48f6-ba3e-a94f177f96e3=20=
<!--blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 } --></s=
tyle>

<div>Try isolating the 'tip' connector with a capacitor (.01=C2=B5f or
larger should do) on the cable to ONE of the units... this will block
the DC but allow the serial data to pass....</div>


<div><br>
</div>


<div><br>
</div>

<blockquote type=3D"cite">Thanks,<br>

I did try to drive both units in parallel and it just would not
work.<br>

It would be a poor mans stereo sync if I could find away to do it.<br>

<br>

Bill<br>

</blockquote>
<blockquote type=3D"cite"><br>
</blockquote><br>
<blockquote type=3D"cite">The EH foot controller for the reissue 16
second delay is the same as the footcontroller for the 2880 but very
very different than the original 16 second delay
controller.</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite">The new style controller uses a
microcontroller sending serial data to the unit and powered by the
unit.</blockquote>
<blockquote type=3D"cite">&nbsp;I think a simple passive A/B
selector would be all you need to have independant control of two
units. It is possible that the unit could also drive two units
simultaneously, but&nbsp; I only have one 16 sec and one 2880 and
these are mapped differently so I cannot test it.....</blockquote>
<blockquote type=3D"cite"><br>

<blockquote type=3D"cite">I have&nbsp; been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.<br>

I have called Electro Harmonix several times and they never return my
calls.<br>

<br>

Does any one know how the foot controller works and a way for it to be
happy seeing two units.<br>

<br>

Thanks Bill</blockquote></blockquote><br>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite"><tt>--</tt><br>

<tt></tt></blockquote>
<blockquote type=3D"cite">...<br>

<a target=3D"_blank" href=3D"http://www.zmix.net">http://www.zmix.net</a></b=
lockquote>
<blockquote type=3D"cite">
<hr></blockquote>
<blockquote type=3D"cite">More new features than ever. Check out
the new <a target=3D"_blank" href=3D"http://o.aolcdn.com/cdn.webmail.aol.com=
/mailtour/aol/en-us/text.htm?ncid=3Daolcmp00050000000003"><span></span>AOL M=
ail</a>!</blockquote>

<div><br>
</div>


<div><br>
</div>

<pre>-- <br>
</pre>

<div>...<br>

<a href=3D"http://www.zmix.net" target=3D"_blank">http://www.zmix.net</a></d=
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From Loopers-Delight-request@loopers-delight.com  Tue Feb 26 22:59:59 2008
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Subject: Re: Electronic Musician arrived
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thanks for letting me know fellow loopers....
i'll go buy a copy

but...where IS this arrival location exactly ?? will i know when i  
get there, and will i keep having to leave and arrive all over  
again??! and most importantly, will there be a deli tray with  
miniature bread?




On Feb 26, 2008, at 12:48 PM, Scott Duncan wrote:

> Page 23  --  I see a looper !
>
> Yes, the March EM issue has arrived.
>
> Congratulations Zoe. I'm sure you'd already "arrived" -- this just  
> brings more folks to be aware of it.
>
> I'll wait a lot longer before adding it to the 3 & 1/2 foot stack  
> of past EM's  ( & Synapse's ) etc...
>
> Best wishes; musically well-deserved.....
>
>
> Scott Duncan
>
>
>
>
>
>
>


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
thanks for letting me know fellow loopers....<div>i'll go buy a =
copy</div><div><br></div><div>but...where IS this arrival location =
exactly ?? will i know when i get there, and will i keep having to leave =
and arrive all over again??! and most importantly, will there be a deli =
tray with miniature bread?</div><div><br =
class=3D"webkit-block-placeholder"></div><div><br></div><div><br =
class=3D"webkit-block-placeholder"></div><div><br =
class=3D"webkit-block-placeholder"></div><div><div><div>On Feb 26, 2008, =
at 12:48 PM, Scott Duncan wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite">Page 23 =
=A0-- =A0I=A0see a looper !=A0<div><br =
class=3D"khtml-block-placeholder"></div><div>Yes, the March EM issue has =
arrived.<div><br =
class=3D"khtml-block-placeholder"></div><div>Congratulations Zoe. I'm =
sure you'd already "arrived" -- this just brings more folks to be aware =
of it.</div><div><br class=3D"khtml-block-placeholder"></div><div>I'll =
wait a lot longer before adding it to the 3 &amp; 1/2 foot stack of past =
EM's=A0 ( &amp; Synapse's ) etc...</div><div><br =
class=3D"khtml-block-placeholder"></div><div>Best wishes; musically =
well-deserved.....=A0<div><span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; border-spacing: 0px 0px; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
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border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
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-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
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white-space: normal; widows: 2; word-spacing: 0px; "><span =
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border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
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white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><div><br =
class=3D"khtml-block-placeholder"></div><div><br =
class=3D"khtml-block-placeholder"></div><div>Scott Duncan</div><div><br =
class=3D"khtml-block-placeholder"></div><div><br =
class=3D"khtml-block-placeholder"></div><div><font =
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class=3D"khtml-block-placeholder"></div><br =
class=3D"Apple-interchange-newline"></span></span></span></span></span></s=
pan></span> =
</div><br></div></div></blockquote></div><br></div></body></html>=

--Apple-Mail-5-273812070--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 00:21:44 2008
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From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Alesis Akira, does it do the Bitrman Bit Crusher effect? (Was
 Re: multi effects unit)
Cc: Art Simon <simart@gmail.com>
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Art,

Even from the front panel knobs it will sortta do most of the things the ModFX series will do.

Via MIDI it'll do a whole lot more.

I haven't really tried the specific thing you mention but it can definitely do the bit-reduction trash-olla thing on your signal along with ring-mod and wild filters, etc.

It doesn't have all of the front panel knobs and switches the ModFX have -- the extra parameters are all availble via MIDI.

But the basic programs are all there (and then some).

A PDF of the manual is downloadable at: http://www.alesis.com/downloads/manuals/Akira_Manual.pdf

It came out at about the same time as the ModFX and died about the same time too.

I bought one new and another one used sometime later on Ebay.

tEd

---- Art Simon <simart@gmail.com> wrote: 
> Hi Ted,
> 
> I don't know how this one slipped by me--I'd never heard of the Akira.
> Does it do the Bitrman bit crusher and other distortion effects? A
> midi controlled bitrman could really wreak havoc : )
> 
> On Tue, Feb 26, 2008 at 8:45 AM, tEd (R) kiLLiAn <tedkillian@charter.net> wrote:
> > Howdy Erdem,
> >
> >  I have found interesting sounds in the Lexicon Vortex, Alesis Akira (basically all of the their Mod FX stuffed in one MIDI contollable box)
> >
> 
> 
> 
> -- 
> Art Simon
> simart@null.net
> art.simon.tripod.com
> myspace [dot] com/artsimon
>

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 00:47:54 2008
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From: Scott Duncan <scottd@webworkz.com>
Subject: Re: Electronic Musician arrived ( OT )
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On Feb 26, 2008, at 5:59 PM, info at zoekeating wrote:
> thanks for letting me know fellow loopers....
> i'll go buy a copy
>
> but...where IS this arrival location exactly ?? will i know when i  
> get there, and will i keep having to leave and arrive all over  
> again??! and most importantly, will there be a deli tray with  
> miniature bread?

Looper's General & Specific Contract:
  subparagraph A;  IIIe, addendeum XL pt4  -- "Green room must  
have.... 2 deli tray(s) with miniature bread.... "   ( I guess it's  
one for talent, one for talent's handlers).

Sounds reasonable, like your standard....

Cheers --
Scott


>
>
>
>
> On Feb 26, 2008, at 12:48 PM, Scott Duncan wrote:
>
>> Page 23  --  I see a looper !
>>
>> Yes, the March EM issue has arrived.
>>
>> Congratulations Zoe. I'm sure you'd already "arrived" -- this just  
>> brings more folks to be aware of it.
>>
>> I'll wait a lot longer before adding it to the 3 & 1/2 foot stack  
>> of past EM's  ( & Synapse's ) etc...
>>
>> Best wishes; musically well-deserved.....
>>
>>
>> Scott Duncan
>>
>>
>>
>>
>>
>>
>>
>


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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><DIV>On Feb 26, 2008, at 5:59 =
PM, info at zoekeating wrote:</DIV><BLOCKQUOTE type=3D"cite">thanks for =
letting me know fellow loopers....<DIV style=3D"">i'll go buy a =
copy</DIV><DIV style=3D""><BR style=3D""></DIV><DIV style=3D"">but...where=
 IS this arrival location exactly ?? will i know when i get there, and =
will i keep having to leave and arrive all over again??! and most =
importantly, will there be a deli tray with miniature =
bread?</DIV></BLOCKQUOTE><DIV><BR =
class=3D"khtml-block-placeholder"></DIV>Looper's General &amp; Specific =
Contract:<DIV>=A0subparagraph A;=A0 IIIe, addendeum XL pt4=A0 -- "Green =
room must have.... 2=A0deli tray(s) with miniature bread.... "=A0 =A0( I =
guess it's one for talent, one for talent's handlers).<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Sounds reasonable, like =
your standard....</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Cheers --<BR><DIV><DIV> =
<SPAN class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
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-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><DIV>Scott</DIV><BR =
class=3D"Apple-interchange-newline"></SPAN></SPAN></SPAN></SPAN></SPAN></S=
PAN></SPAN> </DIV><BR><DIV><BLOCKQUOTE type=3D"cite"><DIV><BR =
class=3D"webkit-block-placeholder"></DIV><DIV><BR></DIV><DIV><BR =
class=3D"webkit-block-placeholder"></DIV><DIV><BR =
class=3D"webkit-block-placeholder"></DIV><DIV><DIV><DIV>On Feb 26, 2008, =
at 12:48 PM, Scott Duncan wrote:</DIV><BR =
class=3D"Apple-interchange-newline"><BLOCKQUOTE type=3D"cite">Page 23 =
=A0-- =A0I=A0see a looper !=A0<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Yes, the March EM issue has =
arrived.<DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Congratulations Zoe. I'm =
sure you'd already "arrived" -- this just brings more folks to be aware =
of it.</DIV><DIV><BR class=3D"khtml-block-placeholder"></DIV><DIV>I'll =
wait a lot longer before adding it to the 3 &amp; 1/2 foot stack of past =
EM's=A0 ( &amp; Synapse's ) etc...</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Best wishes; musically =
well-deserved.....=A0<DIV><SPAN class=3D"Apple-style-span" =
style=3D"border-collapse: separate; border-spacing: 0px 0px; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><SPAN =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Scott Duncan</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><FONT =
class=3D"Apple-style-span" size=3D"3"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 11px;"><BR =
class=3D"khtml-block-placeholder"></SPAN></FONT></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><BR =
class=3D"Apple-interchange-newline"></SPAN></SPAN></SPAN></SPAN></SPAN></S=
PAN></SPAN> =
</DIV><BR></DIV></DIV></BLOCKQUOTE></DIV><BR></DIV></BLOCKQUOTE></DIV><BR>=
</DIV></DIV></DIV></BODY></HTML>=

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From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 01:24:18 2008
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Date: Tue, 26 Feb 2008 20:24:08 -0500
To: Loopers-Delight@loopers-delight.com
From: Charles Zwicky <cazwicky@earthlink.net>
Subject: Re: Electro Harmonix help
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Just to make sure that I am perfectly clear with=20
how you rigged this... you have one foot=20
controller split to two EH-16 delays, and you=20
have inserted a 0.1=B5f in series with the 'tip'=20
connection to one of the EH-16 and the 'ring'=20
connection is still making full contact with that=20
EH-16??



>Charles,
>Tried a .1 bypass on the tip and no luck
>It shuts down the foot controller until I remove the connection.
>
>
>#AOLMsgPart_2_66521cb6-3b3d-48f6-ba3e-a94f177f96e3
>Try isolating the 'tip' connector with a=20
>capacitor (.01=B5f or larger should do) on the=20
>cable to ONE of the units... this will block the=20
>DC but allow the serial data to pass....
>
>
>>Thanks,
>>I did try to drive both units in parallel and it just would not work.
>>It would be a poor mans stereo sync if I could find away to do it.
>>
>>Bill
>>
>>
>
>>The EH foot controller for the reissue 16=20
>>second delay is the same as the footcontroller=20
>>for the 2880 but very very different than the=20
>>original 16 second delay controller.
>>
>>
>>The new style controller uses a microcontroller=20
>>sending serial data to the unit and powered by=20
>>the unit.
>>
>>  I think a simple passive A/B selector would be=20
>>all you need to have independant control of two=20
>>units. It is possible that the unit could also=20
>>drive two units simultaneously, but  I only=20
>>have one 16 sec and one 2880 and these are=20
>>mapped differently so I cannot test it.....
>>
>>
>>>I have  been trying to find out if there is a=20
>>>way to use two of the 16 second Reissue delays=20
>>>units with one remote foot switch.
>>>I have called Electro Harmonix several times and they never return my cal=
ls.
>>>
>>>Does any one know how the foot controller=20
>>>works and a way for it to be happy seeing two=20
>>>units.
>>>
>>>Thanks Bill
>>>
>
>>
>>--
>>
>>...
>><http://www.zmix.net>http://www.zmix.net
>>
>>
>>More new features than ever. Check out the new=20
>><http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=
=3Daolcmp00050000000003>AOL=20
>>Mail!
>>
>
>
>--
>
>...
><http://www.zmix.net>http://www.zmix.net
>
>More new features than ever. Check out the new=20
><http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=
=3Daolcmp00050000000003>AOL=20
>Mail!


-- 
=2E..
http://www.zmix.net
--============_-1008047044==_ma============
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<!doctype html public "-//W3C//DTD W3 HTML//EN">
<html><head><style type=3D"text/css"><!--
blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 }
 --></style><title>Re: Electro Harmonix help</title></head><body>
<div>Just to make sure that I am perfectly clear with how you rigged
this... you have one foot controller split to two EH-16 delays, and
you have inserted a 0.1=B5f in series with the 'tip' connection to one
of the EH-16 and the 'ring' connection is still making full contact
with that EH-16??</div>
<div><br></div>
<div><br></div>
<div><br></div>
<blockquote type=3D"cite" cite>Charles,<br>
Tried a .1 bypass on the tip and no luck<br>
It shuts down the foot controller until I remove the connection.<br>
<br>
</blockquote>
<blockquote type=3D"cite"
cite>#AOLMsgPart_2_66521cb6-3b3d-48f6-ba3e-a94f177f96e3</blockquote>
<blockquote type=3D"cite" cite>Try isolating the 'tip' connector with a
capacitor (.01=B5f or larger should do) on the cable to ONE of the
units... this will block the DC but allow the serial data to
pass....</blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite><br>
<blockquote type=3D"cite" cite>Thanks,<br>
I did try to drive both units in parallel and it just would not
work.<br>
It would be a poor mans stereo sync if I could find away to do it.<br>
<br>
Bill<br>
</blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
</blockquote>
<blockquote type=3D"cite" cite><br>
<blockquote type=3D"cite" cite>The EH foot controller for the reissue 16
second delay is the same as the footcontroller for the 2880 but very
very different than the original 16 second delay controller.<br>
</blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite>The new style controller uses a
microcontroller sending serial data to the unit and powered by the
unit.<br>
</blockquote>
<blockquote type=3D"cite" cite>&nbsp;I think a simple passive A/B
selector would be all you need to have independant control of two
units. It is possible that the unit could also drive two units
simultaneously, but&nbsp; I only have one 16 sec and one 2880 and
these are mapped differently so I cannot test it.....<br>
</blockquote>
<blockquote type=3D"cite" cite><br>
<blockquote type=3D"cite" cite>I have&nbsp; been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.<br>
I have called Electro Harmonix several times and they never return my
calls.<br>
<br>
Does any one know how the foot controller works and a way for it to be
happy seeing two units.<br>
<br>
Thanks Bill<br>
</blockquote>
</blockquote>
</blockquote>
<blockquote type=3D"cite" cite><br>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite><tt>--</tt><br>
</blockquote>
<blockquote type=3D"cite" cite>...<br>
<a href=3D"http://www.zmix.net">http://www.zmix.net</a><br>
</blockquote>
<blockquote type=3D"cite" cite>
<hr></blockquote>
<blockquote type=3D"cite" cite>More new features than ever. Check out
the new <a
href=3D
"http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=3D=
aolcmp00050000000003"><span
></span>AOL Mail</a>!<br>
</blockquote>
</blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite><br></blockquote>
<blockquote type=3D"cite" cite><tt>--</tt><br>
<tt></tt></blockquote>
<blockquote type=3D"cite" cite>...<br>
<a href=3D"http://www.zmix.net">http://www.zmix.net</a></blockquote>
<blockquote type=3D"cite" cite>
<hr></blockquote>
<blockquote type=3D"cite" cite>More new features than ever. Check out
the new <a
href=3D
"http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=3D=
aolcmp00050000000003"><span
></span>AOL Mail</a>!</blockquote>
<div><br></div>
<div><br></div>
<x-sigsep><pre>-- 
</pre></x-sigsep>
<div>...<br>
http://www.zmix.net</div>
</body>
</html>
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From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 02:15:47 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Electro Harmonix help
Date: Tue, 26 Feb 2008 21:15:44 -0500
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 Yes Charles thats what I tried.
As soon as both legs are connected the foot controller goes blank.

The foot controller is connected in parallel with the two delays.
The second delay has the ground connected to the foot controller  and the ti=
p is separated by the .1 bypass cap.

Bill


=20


=20

-----Original Message-----
From: Charles Zwicky <cazwicky@earthlink.net>
To: Loopers-Delight@loopers-delight.com
Sent: Tue, 26 Feb 2008 7:24 pm
Subject: Re: Electro Harmonix help












Just to make sure that I am perfectly clear with how you rigged
this... you have one foot controller split to two EH-16 delays, and
you have inserted a 0.1=C2=B5f in series with the 'tip' connection to one
of the EH-16 and the 'ring' connection is still making full contact
with that EH-16??














Charles,

Tried a .1 bypass on the tip and no luck

It shuts down the foot controller until I remove the connection.






#AOLMsgPart_2_66521cb6-3b3d-48f6-ba3e-a94f177f96e3


Try isolating the 'tip' connector with a
capacitor (.01=C2=B5f or larger should do) on the cable to ONE of the
units... this will block the DC but allow the serial data to
pass....









Thanks,

I did try to drive both units in parallel and it just would not
work.

It would be a poor mans stereo sync if I could find away to do it.



Bill













The EH foot controller for the reissue 16
second delay is the same as the footcontroller for the 2880 but very
very different than the original 16 second delay controller.








The new style controller uses a
microcontroller sending serial data to the unit and powered by the
unit.




=C2=A0I think a simple passive A/B
selector would be all you need to have independant control of two
units. It is possible that the unit could also drive two units
simultaneously, but=C2=A0 I only have one 16 sec and one 2880 and
these are mapped differently so I cannot test it.....







I have=C2=A0 been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.

I have called Electro Harmonix several times and they never return my
calls.



Does any one know how the foot controller works and a way for it to be
happy seeing two units.



Thanks Bill















--




...

http://www.zmix.net










More new features than ever. Check out
the new AOL Mail!














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...

http://www.zmix.net








More new features than ever. Check out
the new AOL Mail!










--=20



...

http://www.zmix.net


=20


________________________________________________________________________
More new features than ever.  Check out the new AOL Mail ! - http://webmail.=
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<div> <font face=3D"Arial, Helvetica, sans-serif">Yes Charles thats what I t=
ried.<br>
As soon as both legs are connected the foot controller goes blank.<br>
<br>
The foot controller is connected in parallel with the two delays.<br>
The second delay has the ground connected to the foot controller  and the ti=
p is separated by the .1 bypass cap.<br>
<br>
Bill<br>
</font></div>

<div> <font face=3D"Arial, Helvetica, sans-serif"><br>
</font></div>

<div> <br>
</div>
-----Original Message-----<br>
From: Charles Zwicky &lt;cazwicky@earthlink.net&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Tue, 26 Feb 2008 7:24 pm<br>
Subject: Re: Electro Harmonix help<br>
<br>






<div id=3D"AOLMsgPart_2_62683b92-c318-4481-a645-ddcf89d58493">


<style type=3D"text/css">#AOLMsgPart_2_62683b92-c318-4481-a645-ddcf89d58493=20=
<!--blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 } --></s=
tyle>

<div>Just to make sure that I am perfectly clear with how you rigged
this... you have one foot controller split to two EH-16 delays, and
you have inserted a 0.1=C2=B5f in series with the 'tip' connection to one
of the EH-16 and the 'ring' connection is still making full contact
with that EH-16??</div>


<div><br>
</div>


<div><br>
</div>


<div><br>
</div>

<blockquote type=3D"cite">Charles,<br>

Tried a .1 bypass on the tip and no luck<br>

It shuts down the foot controller until I remove the connection.<br>

<br>

</blockquote>
<blockquote type=3D"cite">#AOLMsgPart_2_66521cb6-3b3d-48f6-ba3e-a94f177f96e3=
</blockquote>
<blockquote type=3D"cite">Try isolating the 'tip' connector with a
capacitor (.01=C2=B5f or larger should do) on the cable to ONE of the
units... this will block the DC but allow the serial data to
pass....</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite"><br>

<blockquote type=3D"cite">Thanks,<br>

I did try to drive both units in parallel and it just would not
work.<br>

It would be a poor mans stereo sync if I could find away to do it.<br>

<br>

Bill<br>

</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
</blockquote>
<blockquote type=3D"cite"><br>

<blockquote type=3D"cite">The EH foot controller for the reissue 16
second delay is the same as the footcontroller for the 2880 but very
very different than the original 16 second delay controller.<br>

</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite">The new style controller uses a
microcontroller sending serial data to the unit and powered by the
unit.<br>

</blockquote>
<blockquote type=3D"cite">&nbsp;I think a simple passive A/B
selector would be all you need to have independant control of two
units. It is possible that the unit could also drive two units
simultaneously, but&nbsp; I only have one 16 sec and one 2880 and
these are mapped differently so I cannot test it.....<br>

</blockquote>
<blockquote type=3D"cite"><br>

<blockquote type=3D"cite">I have&nbsp; been trying to find out if
there is a way to use two of the 16 second Reissue delays units with
one remote foot switch.<br>

I have called Electro Harmonix several times and they never return my
calls.<br>

<br>

Does any one know how the foot controller works and a way for it to be
happy seeing two units.<br>

<br>

Thanks Bill<br>

</blockquote>
</blockquote>
</blockquote>
<blockquote type=3D"cite"><br>

<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite"><tt>--</tt><br>

</blockquote>
<blockquote type=3D"cite">...<br>

<a target=3D"_blank" href=3D"http://www.zmix.net">http://www.zmix.net</a><br=
>

</blockquote>
<blockquote type=3D"cite">
<hr></blockquote>
<blockquote type=3D"cite">More new features than ever. Check out
the new <a target=3D"_blank" href=3D"http://o.aolcdn.com/cdn.webmail.aol.com=
/mailtour/aol/en-us/text.htm?ncid=3Daolcmp00050000000003"><span></span>AOL M=
ail</a>!<br>

</blockquote>
</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite"><br>
</blockquote>
<blockquote type=3D"cite"><tt>--</tt><br>

<tt></tt></blockquote>
<blockquote type=3D"cite">...<br>

<a target=3D"_blank" href=3D"http://www.zmix.net">http://www.zmix.net</a></b=
lockquote>
<blockquote type=3D"cite">
<hr></blockquote>
<blockquote type=3D"cite">More new features than ever. Check out
the new <a target=3D"_blank" href=3D"http://o.aolcdn.com/cdn.webmail.aol.com=
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ail</a>!</blockquote>

<div><br>
</div>


<div><br>
</div>

<pre>-- <br>
</pre>

<div>...<br>

<a href=3D"http://www.zmix.net" target=3D"_blank">http://www.zmix.net</a></d=
iv>

</div>
 <!-- end of AOLMsgPart_2_62683b92-c318-4481-a645-ddcf89d58493 -->

<div class=3D"AOLPromoFooter">
<hr style=3D"margin-top:10px;" />
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</div>

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From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 04:18:14 2008
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Date: Tue, 26 Feb 2008 20:12:32 -0800 (PST)
From: Adam Hart <loop.troop@yahoo.com>
Subject: Echoplex(s) for sale - 2 for 1(?)
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--0-1550009582-1204085552=:77085
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Greetings all.

I have an Oberheim Echoplex for sale (Loop IV).  It's the original.  The feedback knob doesn't work, but other than that it functions just how you would expect.

With that I am also selling (giving away?) my Gibson Echoplex.  It, sadly, is on the fritz.  I ran an amplified signal into it (from a guitar amp) and ever since it has been acting strange.  The feedback knob works on that one though ;)

Why my Oberheim EDP isn't cutting it for me

If it is working, why would I get rid of it?  As a slave the Oberheim EDP can not record 2+ loops triggered with midi messages.  The record cycle of the second loop is delayed by a half second or so... totally defeating the concept of tempo.  I was late to discover that this is a factory glitch.  I have tried numerous workarounds (loop start point, etc.). Very frustrating when using midi.

***Now, straight looping, no slave, using the foot controller... cake.  Wonderful tool!  Used it live many a time.  Multiple loops, etc, etc, etc.  As for the defunct feedback knob, simply use a volume footcontroller and you're in business.


What about the Gibson EDP?

Well, I honestly don't know what is wrong with it, but it is definetly ON THE FRITZ.  It works fine for a while, tweaks, some strange things happening with the display... but, maybe someone out there can use it for parts(?).

You can have them one or both.  If I get enough interest I can set it up on ebay.

If you are interested come at me with a price you would pay and I will put it on ebay at a predetermined time.  Eventually I will put it up on ebay no matter what, but I thought maybe I would see here first.


Cheers,
Adam



      ____________________________________________________________________________________
Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile.  Try it now.  http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ 

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<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:tahoma,new york,times,serif;font-size:12pt">Greetings all.<br><br>I have an Oberheim Echoplex for sale (Loop IV).&nbsp; It's the original.&nbsp; The feedback knob doesn't work, but other than that it functions just how you would expect.<br><br>With that I am also selling (giving away?) my Gibson Echoplex.&nbsp; It, sadly, is on the fritz.&nbsp; I ran an amplified signal into it (from a guitar amp) and ever since it has been acting strange.&nbsp; The feedback knob works on that one though ;)<br><br><span style="text-decoration: underline;">Why my Oberheim EDP isn't cutting it for me<br><br></span>If it is working, why would I get rid of it?&nbsp; As a slave the Oberheim EDP can not record 2+ loops triggered with midi messages.&nbsp; The record cycle of the second loop is delayed by a half second or so... totally defeating the concept of tempo.&nbsp; I
 was late to discover that this is a factory glitch.&nbsp; I have tried numerous workarounds (loop start point, etc.). Very frustrating when using midi.<br><br>***Now, straight looping, no slave, using the foot controller... cake.&nbsp; Wonderful tool!&nbsp; Used it live many a time.&nbsp; Multiple loops, etc, etc, etc.&nbsp; As for the defunct feedback knob, simply use a volume footcontroller and you're in business.<br><br><br><span style="text-decoration: underline;">What about the Gibson EDP?<br><br></span>Well, I honestly don't know what is wrong with it, but it is definetly ON THE FRITZ.&nbsp; It works fine for a while, tweaks, some strange things happening with the display... but, maybe someone out there can use it for parts(?).<br><br>You can have them one or both.&nbsp; If I get enough interest I can set it up on ebay.<br><br>If you are interested come at me with a price you would pay and I will put it on ebay at a predetermined time.&nbsp;
 Eventually I will put it up on ebay no matter what, but I thought maybe I would see here first.<br><br><br>Cheers,<br>Adam<br><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></div><br>
      <hr size=1>Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile. <a href="http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ "> Try it now.</a></body></html>
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From joboffer4u1@hotmail.com  Wed Feb 27 06:46:49 2008
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From: "Ravenscourt Supplies Inc."<joboffer4u1@hotmail.com>
Subject: Ravenscourt Supplies Inc. JOB OFFER FOR YOU
Date: Wed, 27 Feb 2008 03:56:52 +0100
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Ravenscourt Supplies Inc.
Unit 22 Greenhill Crescent,
Watford,WD189PH
 
Ravenscourt Supplies Inc. is an European construction Company, with  a Standardized office here in UK. Ravenscourt Supplies a full range of building materials including bricks, blocks, lintels, dpc, tools,insulation, fixings, sealants, fencing, timber, plywood, drainage, velux and safety equipment Worldwide. We have reached big sales volume of
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If you are interested, please get back to us as soon as Possible with your full contact details, which should include, your:
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NB: KINDLY HAVE YOUR REPLY SENT TO:job.offer4u@hotmail.com

Regards
Raven Scourt
For the management

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Subject: Congratulazioni , hai ricevuto il bonus di fedelta! 
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From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 14:15:09 2008
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From: Teddy Kumpel <teddybut@mac.com>
Subject: Re: Let's complain to Roland en masse! (was Re: Boss RC50 delay issues)
Date: Wed, 27 Feb 2008 09:15:04 -0500
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I'm down with this Tom... the RC-50, while my main looper at this  
point, is really annoying because of the glitches, midi sync and time  
stretching.

which do you think would be more effective, a class action letter  
from a lawyer or the website? or both have to happen?
The suit is a good idea because, after all, their own marketing  
blurbs tout all those features as key reasons why to buy the thing.

teddy k


On Feb 26, 2008, at 2:01 PM, Tom Ritchford wrote:

>
>
> On Tue, Feb 26, 2008 at 4:34 AM, doc rossi <docittern@gmail.com>  
> wrote:
> On Feb 26, 2008, at 9:24 AM, Tom Ritchford wrote:
>
> > If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU
> > WON'T FIX THEM" then it will be bad PR for them.  at least we get to
> > cost them some $$$....  because if people really believe "they make
> > crappy products they won't support" then they won't buy them!
>
> I appreciate the idea, but I'm not sure they are worried about PR -
>
> There isn't a company in the world that sells to consumers that  
> isn't worried about PR.  I mean, they care enough to put out their  
> own magazine.
>
> Believe you me, this is the sort of conversation that companies are  
> terrified of:
>
> "I'm going to get a Roland xxx"
> "Oh, my friend had endless trouble with Roland's yyy -- don't do it."
>
> Whole companies have collapsed based on that sort of thing.
>
> If you read the explanation from tech support, it's really  
> dishonest.  They don't want to fix their old products because  
> they're busy making new products.  In other words, it's a massive  
> con to get your money with products that don't work, and they'll  
> never fix.
>
> So.  I'll set up the domain, and make some movies.  My movies  
> probably won't come for a week, as even though I have a nice  
> camera, it stays near the gig....  so get on your movies.
>
>
> I'm also realizing that it might be fun to sue them in small claims  
> court... as it isn't very time-consuming for me, and they probably  
> won't show up to contest it.
>
> I have a particular hatred of being ripped off by large  
> corporations because you know they're doing it to thousands of others.

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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
I'm down with this Tom... the RC-50, while my main looper at this point, =
is really annoying because of the glitches, midi sync and time =
stretching.<div><br class=3D"webkit-block-placeholder"></div><div>which =
do you think would be more effective, a class action letter from a =
lawyer or the website? or both have to happen?</div><div>The suit is a =
good idea because, after all, their own marketing blurbs tout all those =
features as key reasons why to buy the thing.</div><div><br =
class=3D"webkit-block-placeholder"></div><div>teddy k</div><div><br =
class=3D"webkit-block-placeholder"></div><div><br><div><div>On Feb 26, =
2008, at 2:01 PM, Tom Ritchford wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><br><br><div=
 class=3D"gmail_quote">On Tue, Feb 26, 2008 at 4:34 AM, doc rossi &lt;<a =
href=3D"mailto:docittern@gmail.com">docittern@gmail.com</a>&gt; =
wrote:<br><blockquote class=3D"gmail_quote" style=3D"border-left: 1px =
solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: =
1ex;"> <div class=3D"Ih2E3d">On Feb 26, 2008, at 9:24 AM, Tom Ritchford =
wrote:<br> <br> &gt; If we make a big fuss, saying, "YOUR UNIT HAS =
SERIOUS ISSUES AND YOU<br> </div><div class=3D"Ih2E3d">&gt; WON'T FIX =
THEM" then it will be bad PR for them. =A0at least we get to<br> &gt; =
cost them some $$$.... =A0because if people really believe "they =
make<br> &gt; crappy products they won't support" then they won't buy =
them!<br> <br> </div>I appreciate the idea, but I'm not sure they are =
worried about PR -</blockquote><div><br>There isn't a company in the =
world that sells to consumers that isn't worried about PR.=A0 I mean, =
they care enough to put out their own magazine.<br> <br>Believe you me, =
this is the sort of conversation that companies are terrified =
of:<br><br>"I'm going to get a Roland xxx"<br>"Oh, my friend had endless =
trouble with Roland's yyy -- don't do it."<br> <br>Whole companies have =
collapsed based on that sort of thing.<br><br>If you read the =
explanation from tech support, it's really dishonest.=A0 They don't want =
to fix their old products because they're busy making new products.=A0 =
In other words, it's a massive con to get your money with products that =
don't work, and they'll never fix.<br> <br></div></div>So.=A0 I'll set =
up the domain, and make some movies.=A0 My movies probably won't come =
for a week, as even though I have a nice camera, it stays near the =
gig....=A0 so get on your movies.<br><br><br>I'm also realizing that it =
might be fun to sue them in small claims court... as it isn't very =
time-consuming for me, and they probably won't show up to contest =
it.<br> <br>I have a particular hatred of being ripped off by large =
corporations because you know they're doing it to thousands of =
others.</blockquote></div></div></body></html>=

--Apple-Mail-1-328721726--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 14:37:41 2008
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Date: Wed, 27 Feb 2008 15:37:39 +0100
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Subject: RE: workaround for gap in first loop? (was: Boss RC50 delay issues)
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I've seen a lot of complaints about the RC-50 on this list. Imo the issue=
 is caused by the loop quantize feature and infact it's documented in the=
 1.01 OS release notes. But if you carefully read the release notes the w=
orkaround is not to use the rhythmn mode. Let's first take a good look at=
 the release notes.

-----
* Priority Given to Rhythm (Factory Default) *
This preserves the performance rhythm from the time that recording starte=
d.
When you operate the pedal, the performance-start location is adjusted an=
d playback is started accordingly. Although it may sometimes sound as if =
playback has started from the middle of a phrase, from the following loop=
, playback takes place as recorded.

* Priority Given to Sound *
This starts playback from the beginning of the recorded data.

Note, however, that for the rhythm guide, recorded phrases, or recordings=
 synchronized with MIDI, playback starts with =93Rhythm Priority.=94
-----

What you have to do is this:
- put your RC-50 in Sound Priority mode (see release notes for details)
- do NOT use the Rhythm guide; this will turn the loop quantize feature o=
n and causes the gap

Btw: I've tested the issue 25 times today and imo above procedure avoids =
the problem. I hope this helps :)

Sjaak=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0A=
http://www.scarlet.be/

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 15:15:10 2008
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Date: Wed, 27 Feb 2008 16:14:54 +0100
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Subject: RE: workaround for gap in first loop? (was: Boss RC50 delay issues)
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A couple of things I forgot to tell you

- if you use tempo sync ON (=3D phrase setting), your might also hear a k=
ind off "gap" when you stop recording. Reason: the RC-50 sync's your 2nd =
phrase with the first phrase. You also see the Loop quantize indicator li=
ghts.
- using loop sync causes the same behaviour 

Please note that this is more or less "intended functionality" and logica=
l if you use tempo sync and loop quantize. The default settings of the RC=
-50 are intended to create synced loops; so switch it off and save it as =
your own looper preset.

Sjaak=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0A=
http://www.scarlet.be/

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 17:37:33 2008
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Date: Wed, 27 Feb 2008 17:30:51 +0000 (GMT)
From: Stuart Masters <stuartmasterz@yahoo.co.uk>
Subject: RE: workaround for gap in first loop? (was: Boss RC50 delay issues)
To: Loopers-Delight@loopers-delight.com
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Thanks very much for this. I'm pretty sure I've tried everything possible to overcome the glitch (literally hours) but when I'm looping vocals with a hard consonant at the beginning, like a 'k' or something similar, it's really noticeable that you miss at least part of it. It can be quite disjointing.
   
  That said, I'll go and try what you just suggested and see if the solution lies there.
   
  

Sjaak <tcplugin@scarlet.be> wrote:
  I've seen a lot of complaints about the RC-50 on this list. Imo the issue is caused by the loop quantize feature and infact it's documented in the 1.01 OS release notes. But if you carefully read the release notes the workaround is not to use the rhythmn mode. Let's first take a good look at the release notes.

-----
* Priority Given to Rhythm (Factory Default) *
This preserves the performance rhythm from the time that recording started.
When you operate the pedal, the performance-start location is adjusted and playback is started accordingly. Although it may sometimes sound as if playback has started from the middle of a phrase, from the following loop, playback takes place as recorded.

* Priority Given to Sound *
This starts playback from the beginning of the recorded data.

Note, however, that for the rhythm guide, recorded phrases, or recordings synchronized with MIDI, playback starts with “Rhythm Priority.”
-----

What you have to do is this:
- put your RC-50 in Sound Priority mode (see release notes for details)
- do NOT use the Rhythm guide; this will turn the loop quantize feature on and causes the gap

Btw: I've tested the issue 25 times today and imo above procedure avoids the problem. I hope this helps :)

Sjaak
---
Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
http://www.scarlet.be/



       
---------------------------------
 Rise to the challenge for Sport Relief with Yahoo! for Good
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<div>Thanks very much for this. I'm pretty sure I've tried everything possible to overcome&nbsp;the glitch&nbsp;(literally hours) but&nbsp;when I'm&nbsp;looping vocals with a hard consonant at the beginning, like a 'k' or something similar, it's really noticeable that you miss at least part of it. It can be quite disjointing.</div>  <div>&nbsp;</div>  <div>That said, I'll go and try what you just suggested and see if the solution lies there.</div>  <div>&nbsp;</div>  <div><BR><BR><B><I>Sjaak &lt;tcplugin@scarlet.be&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">I've seen a lot of complaints about the RC-50 on this list. Imo the issue is caused by the loop quantize feature and infact it's documented in the 1.01 OS release notes. But if you carefully read the release notes the workaround is not to use the rhythmn mode. Let's first take a good look at the release notes.<BR><BR>-----<BR>* Priority
 Given to Rhythm (Factory Default) *<BR>This preserves the performance rhythm from the time that recording started.<BR>When you operate the pedal, the performance-start location is adjusted and playback is started accordingly. Although it may sometimes sound as if playback has started from the middle of a phrase, from the following loop, playback takes place as recorded.<BR><BR>* Priority Given to Sound *<BR>This starts playback from the beginning of the recorded data.<BR><BR>Note, however, that for the rhythm guide, recorded phrases, or recordings synchronized with MIDI, playback starts with “Rhythm Priority.”<BR>-----<BR><BR>What you have to do is this:<BR>- put your RC-50 in Sound Priority mode (see release notes for details)<BR>- do NOT use the Rhythm guide; this will turn the loop quantize feature on and causes the gap<BR><BR>Btw: I've tested the issue 25 times today and imo above procedure avoids the problem. I hope this helps :)<BR><BR>Sjaak<BR>---<BR>Scarlet One,
 ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...<BR>http://www.scarlet.be/<BR><BR></BLOCKQUOTE><BR><p>&#32;
      <hr size=1> 
Rise to the challenge for Sport Relief with <a href="http://us.rd.yahoo.com/mailuk/taglines/isp/control/*http://us.rd.yahoo.com/evt=51947/*http://uk.promotions.yahoo.com/forgood/">Yahoo! for Good</a>
--0-1085158797-1204133451=:63832--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 18:04:38 2008
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Date: Wed, 27 Feb 2008 18:04:24 -0000
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Subject: Re: multi effects unit
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On 26 Feb 2008 at 10:04, Tony K wrote:

> > if any of you could recommend other multi effects processor with
> > very wild effects.

The alesis airFX is an amazing bit of gear, very organic and cheap..

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 19:31:52 2008
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Date: Wed, 27 Feb 2008 19:31:49 +0000 (GMT)
From: Stuart Masters <stuartmasterz@yahoo.co.uk>
Subject: RE: workaround for gap in first loop? (was: Boss RC50 delay issues)
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I've just had another try. If you play/sing over the beginning of your loop, you're fine. But what if you don't want to? It's a bit limiting for a unit that was supposed to be the best hardware looper so far. Maybe we should sue Roland and use the funds to buy boomerang 3's when they come out...!
   
   
  

Stuart Masters <stuartmasterz@yahoo.co.uk> wrote:
    Thanks very much for this. I'm pretty sure I've tried everything possible to overcome the glitch (literally hours) but when I'm looping vocals with a hard consonant at the beginning, like a 'k' or something similar, it's really noticeable that you miss at least part of it. It can be quite disjointing.
   
  That said, I'll go and try what you just suggested and see if the solution lies there.
   
  

Sjaak <tcplugin@scarlet.be> wrote:
  I've seen a lot of complaints about the RC-50 on this list. Imo the issue is caused by the loop quantize feature and infact it's documented in the 1.01 OS release notes. But if you carefully read the release notes the workaround is not to use the rhythmn mode. Let's first take a good look at the release notes.

-----
* Priority Given to Rhythm (Factory Default) *
This preserves the performance rhythm from the time that recording started.
When you operate the pedal, the performance-start location is adjusted and playback is started accordingly. Although it may sometimes sound as if playback has started from the middle of a phrase, from the following loop, playback takes place as recorded.

* Priority Given to Sound *
This starts playback from the beginning of the recorded data.

Note, however, that for the rhythm guide, recorded phrases, or recordings synchronized with MIDI, playback starts with “Rhythm Priority.”
-----

What you have to do is this:
- put your RC-50 in Sound Priority mode (see release notes for details)
- do NOT use the Rhythm guide; this will turn the loop quantize feature on and causes the gap

Btw: I've tested the issue 25 times today and imo above procedure avoids the problem. I hope this helps :)

Sjaak
---
Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
http://www.scarlet.be/


    
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<div>I've just had another try. If you play/sing over the beginning of your loop, you're fine. But what if you don't want to? It's a bit limiting for a unit that was supposed to be the best hardware looper so far. Maybe we should sue Roland and use the funds to buy boomerang 3's when they come out...!</div>  <div>&nbsp;</div>  <div>&nbsp;</div>  <div><BR><BR><B><I>Stuart Masters &lt;stuartmasterz@yahoo.co.uk&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">  <DIV>Thanks very much for this. I'm pretty sure I've tried everything possible to overcome&nbsp;the glitch&nbsp;(literally hours) but&nbsp;when I'm&nbsp;looping vocals with a hard consonant at the beginning, like a 'k' or something similar, it's really noticeable that you miss at least part of it. It can be quite disjointing.</DIV>  <DIV>&nbsp;</DIV>  <DIV>That said, I'll go and try what you just suggested and see if the solution lies
 there.</DIV>  <DIV>&nbsp;</DIV>  <DIV><BR><BR><B><I>Sjaak &lt;tcplugin@scarlet.be&gt;</I></B> wrote:</DIV>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">I've seen a lot of complaints about the RC-50 on this list. Imo the issue is caused by the loop quantize feature and infact it's documented in the 1.01 OS release notes. But if you carefully read the release notes the workaround is not to use the rhythmn mode. Let's first take a good look at the release notes.<BR><BR>-----<BR>* Priority Given to Rhythm (Factory Default) *<BR>This preserves the performance rhythm from the time that recording started.<BR>When you operate the pedal, the performance-start location is adjusted and playback is started accordingly. Although it may sometimes sound as if playback has started from the middle of a phrase, from the following loop, playback takes place as recorded.<BR><BR>* Priority Given to Sound *<BR>This starts playback from
 the beginning of the recorded data.<BR><BR>Note, however, that for the rhythm guide, recorded phrases, or recordings synchronized with MIDI, playback starts with “Rhythm Priority.”<BR>-----<BR><BR>What you have to do is this:<BR>- put your RC-50 in Sound Priority mode (see release notes for details)<BR>- do NOT use the Rhythm guide; this will turn the loop quantize feature on and causes the gap<BR><BR>Btw: I've tested the issue 25 times today and imo above procedure avoids the problem. I hope this helps :)<BR><BR>Sjaak<BR>---<BR>Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...<BR>http://www.scarlet.be/<BR><BR></BLOCKQUOTE><BR>  <div>  <HR SIZE=1>  Rise to the challenge for Sport Relief with <A href="http://us.rd.yahoo.com/mailuk/taglines/isp/control/*http://us.rd.yahoo.com/evt=51947/*http://uk.promotions.yahoo.com/forgood/">Yahoo! for Good</A></BLOCKQUOTE><BR><p>&#32;
      <hr size=1> 
Yahoo! Answers - Get better answers from someone who knows. <a
href="http://uk.answers.yahoo.com/ ;_ylc=X3oDMTEydmViNG02BF9TAzIxMTQ3MTcxOTAEc2VjA21haWwEc2xrA3RhZ2xpbmU">Try
it now</a>.
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From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 19:32:55 2008
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From: Sean Mormelo <sean@seanmormelo.com>
Subject: Re: workaround for gap in first loop? (was: Boss RC50 delay issues)
Date: Wed, 27 Feb 2008 18:40:42 +0100
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this is very true...If you turn off the loop quantize you get a =20
volume drop when you begin recording your phrase but upon playback =20
there is NO GAP...I do not use the loop quantize and I get no gap in =20
sound whatsoever upon playback....My only complaint thus far with the =20=

RC50 unit at this point is the timestretch is unusable and that was =20
the MAIN reason I bought it. Other then that this unit so far has =20
proven to be more then I need but YMMV.


On Feb 27, 2008, at 3:37 PM, Sjaak wrote:

> I've seen a lot of complaints about the RC-50 on this list. Imo the =20=

> issue is caused by the loop quantize feature and infact it's =20
> documented in the 1.01 OS release notes. But if you carefully read =20
> the release notes the workaround is not to use the rhythmn mode. =20
> Let's first take a good look at the release notes.
>
> -----
> * Priority Given to Rhythm (Factory Default) *
> This preserves the performance rhythm from the time that recording =20
> started.
> When you operate the pedal, the performance-start location is =20
> adjusted and playback is started accordingly. Although it may =20
> sometimes sound as if playback has started from the middle of a =20
> phrase, from the following loop, playback takes place as recorded.
>
> * Priority Given to Sound *
> This starts playback from the beginning of the recorded data.
>
> Note, however, that for the rhythm guide, recorded phrases, or =20
> recordings synchronized with MIDI, playback starts with =93Rhythm =20
> Priority.=94
> -----
>
> What you have to do is this:
> - put your RC-50 in Sound Priority mode (see release notes for =20
> details)
> - do NOT use the Rhythm guide; this will turn the loop quantize =20
> feature on and causes the gap
>
> Btw: I've tested the issue 25 times today and imo above procedure =20
> avoids the problem. I hope this helps :)
>
> Sjaak
> ---
> Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
> http://www.scarlet.be/
>

Sean Mormelo
sean@seanmormelo.com
www.seanmormelo.com
www.myspace.com/seanmormelo





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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
this is very true...If you turn off the loop quantize you get a volume =
drop when you begin recording your phrase but upon playback there is NO =
GAP...I do not use the loop quantize and I get no gap in sound =
whatsoever upon playback....My only complaint thus far with the RC50 =
unit at this point is the timestretch is unusable and that was the MAIN =
reason I bought it. Other then that this unit so far has proven to be =
more then I need but YMMV.<div><br =
class=3D"webkit-block-placeholder"></div><div><br><div><div>On Feb 27, =
2008, at 3:37 PM, Sjaak wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">I've seen a lot of complaints about the RC-50 on =
this list. Imo the issue is caused by the loop quantize feature and =
infact it's documented in the 1.01 OS release notes. But if you =
carefully read the release notes the workaround is not to use the =
rhythmn mode. Let's first take a good look at the release =
notes.</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">-----</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">* Priority =
Given to Rhythm (Factory Default) *</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">This =
preserves the performance rhythm from the time that recording =
started.</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">When you operate the pedal, the =
performance-start location is adjusted and playback is started =
accordingly. Although it may sometimes sound as if playback has started =
from the middle of a phrase, from the following loop, playback takes =
place as recorded.</div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; =
"><br></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">* Priority Given to Sound =
*</div><div style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: =
0px; margin-left: 0px; ">This starts playback from the beginning of the =
recorded data.</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">Note, however, that for the rhythm guide, recorded =
phrases, or recordings synchronized with MIDI, playback starts with =
=93Rhythm Priority.=94</div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; ">-----</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; min-height: 14px; "><br></div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">What you =
have to do is this:</div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; ">- put your RC-50 in Sound =
Priority mode (see release notes for details)</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">- do NOT use the Rhythm guide; this will turn the =
loop quantize feature on and causes the gap</div><div style=3D"margin-top:=
 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
min-height: 14px; "><br></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Btw: I've =
tested the issue 25 times today and imo above procedure avoids the =
problem. I hope this helps :)</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: =
14px; "><br></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">Sjaak</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">---</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Scarlet One, =
ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...</div><div style=3D"margin-top:=
 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a =
href=3D"http://www.scarlet.be">http://www.scarlet.be</a>/</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; min-height: 14px; "><br></div> =
</blockquote></div><br><div> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; border-spacing: 0px 0px; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: =
normal; font-variant: normal; font-weight: normal; letter-spacing: =
normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><div>Sean =
Mormelo</div><div><a =
href=3D"mailto:sean@seanmormelo.com">sean@seanmormelo.com</a></div><div>ww=
w.seanmormelo.com</div><div>www.myspace.com/seanmormelo</div><div><br =
class=3D"khtml-block-placeholder"></div><div><br =
class=3D"khtml-block-placeholder"></div><br =
class=3D"Apple-interchange-newline"></span> =
</div><br></div></body></html>=

--Apple-Mail-22-341059614--

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 20:12:27 2008
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From: Chris Sewell <lunamusic@mac.com>
Subject: Re: workaround for gap in first loop? (was: Boss RC50 delay issues)
Date: Wed, 27 Feb 2008 15:12:14 -0500
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Interesting discussion. I suspect the Japanese engineers had a very  
specific idea about how the RC 50 was to be used. Their video demos  
really bring this point home. I don't think they envisioned it to be  
used the way some loopers want to use it. I believe they see it as an  
accompaniment tool. Phrases to be preloaded, fitting nicely into  
preset spaces. Everything snug and tidy. If you use it like this, its  
great.

However, once you start deviating from this method, things get a bit  
sketchy. The time stretching does work ok on percussion or things  
with clear transients, but not well at all anywhere else.
However, the midi sync is unforgivable. There are workarounds. Just  
like every other looper on the planet.


From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 20:26:25 2008
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Although I'm not a "rebel" type of guy , this is my contribution of our m=
utual friend and enemy, the RC-50 ;) Scroll down to the RC-50 section on =
the page below, it also contains tips and workarounds for several issues.=


http://home.scarlet.be/gare-d-anvers/sjaak/livelooping.htm

Regards,
Sjaak=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0A=
http://www.scarlet.be/

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 20:29:37 2008
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Subject: EDP+ schematics?
Date: Wed, 27 Feb 2008 21:29:02 +0100
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Hi,

Anyone know if its possible to find a schematic of the EDP+ anywhere?
I have this annoying problem with my EDP+ sometimes refusing to boot up.
Its a random failure which is the worst kind of thing to diagnose.=20
Please if anyone have information, tricks or any kind of help, please
contact me.
Read my old message underneath for details of the problem.

Best regards,
Magnus

Hello,

My EDP+ has a problem. Sometimes it refuses to boot correctly. It will
light up in some of the leds and on the screen, but very briefly, and
then it's blacked out. It is unpredictable but it seems like it happens
more often when the unit has been on for some hours. Also, when it does
black out, I can hear that there is still current in the electrical
circuit.

I should say that it is only during boot-up this happens, and only
sometimes. If my unit boots up correctly, it is functioning as normal
and stays on.

I searched through the archive and someone suggested re-seating the ROMs.
Does this mean actually taking out the ROM chips (not sure exactly which
ones they are) and putting them back in again?
I've checked all the SIMMs and made sure everything is in place. And
I've reset the EDP+, but none of this have helped.

Any suggestions?

All the best from,
Magnus

From Loopers-Delight-request@loopers-delight.com  Wed Feb 27 20:34:53 2008
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Date: Wed, 27 Feb 2008 20:34:51 +0000 (GMT)
From: Stuart Masters <stuartmasterz@yahoo.co.uk>
Subject: Re: RC-50 / RC50 delay issues
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Thanks, Sjaak, I'll check that out. 
   
  I also gree about looking at what the RC50 was intended for... if you preload it with tracks, it's unbeatable. I heard of a Flamenco style guitarist who used it to duel with himself, using preloaded tracks
   
   
   
  
Sjaak <tcplugin@scarlet.be> wrote:
  Although I'm not a "rebel" type of guy , this is my contribution of our mutual friend and enemy, the RC-50 ;) Scroll down to the RC-50 section on the page below, it also contains tips and workarounds for several issues.

http://home.scarlet.be/gare-d-anvers/sjaak/livelooping.htm

Regards,
Sjaak
---
Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
http://www.scarlet.be/



       
---------------------------------
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<div>Thanks, Sjaak, I'll check that out. </div>  <div>&nbsp;</div>  <div>I also gree about looking at what the RC50 was intended for... if you preload it with tracks, it's unbeatable. I heard of a&nbsp;Flamenco style guitarist who used it to duel with himself, using preloaded tracks</div>  <div>&nbsp;</div>  <div>&nbsp;</div>  <div>&nbsp;</div>  <div><BR><B><I>Sjaak &lt;tcplugin@scarlet.be&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">Although I'm not a "rebel" type of guy , this is my contribution of our mutual friend and enemy, the RC-50 ;) Scroll down to the RC-50 section on the page below, it also contains tips and workarounds for several issues.<BR><BR>http://home.scarlet.be/gare-d-anvers/sjaak/livelooping.htm<BR><BR>Regards,<BR>Sjaak<BR>---<BR>Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...<BR>http://www.scarlet.be/<BR><BR></BLOCKQUOTE><BR><p>&#32;



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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 01:28:20 2008
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Subject: EDP midi offsets
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hi once again...
thanks to the cumulative efforts of many people on this list especially And=
y Ewan and Matthias I now have 3 echoplex units working upgraded to loop 4 =
and free of hums.
=20
I have decided to hook them all up together and get the fcb1010 out...they =
are all working and the latency is not a real issue for me however im a lit=
tle stuck.. offsets....
=20
does anyone know the absoloute midi offsets for running three loop4 echople=
x's off one behringer fcb101 ??
=20
when  i programmed edp 1 into the fcb1010 i deliberatly had the lowest offs=
et option (i knew back then when i would be like now)
=20
fine...
=20
i added in edp2 and programmed from where i left off offsetwise.. however i=
 noticed once i got the the highest numbers i use (22-sus replace i think) =
the offset i had chosen started wrapping round the fist echoplex with no of=
fset and i was thus activating unwanted funcitons on edp1 while controlling=
 edp 2
=20
no problem as such...i moved the offset on edp2 to a few other numbers and =
in the end found that 48 was enough to leave me clear (but i dont know by h=
ow much..there may be bags of room, i just picked it cos it seemed high)
=20
but then i add in edp3 ....
=20
first up i tried using an offset of 64 .... i figured that 0 - 48 - 64 seem=
ed like easy numbers to work with, however i kept triggering unwanted react=
ions in echoplex2=20
=20
I knew 48 left me clear before so i doubled this offset giving me 96..
=20
this was great and worked however the final button i have is reset(25)...an=
d basically with the offset i would need a midi number of 131....obviously =
midi cops out at 127 so basically edp3 cant be reset via midi
=20
so finally my question is...does anyone know the absoloute midi offsets for=
 running three loop4 echoplex's off one behringer fcb101 without  interfere=
nce with each other if the highest non offset number i use is 25.
=20
if i can figure it out in time i wil and will also post if to the archives =
for future referance but if anyone has done the hard miles already i would =
appreciate you saving my thumbs all that pressing.
=20
thanks
Phill MyOneManBand
_________________________________________________________________
Get Hotmail on your mobile, text MSN to 63463!
http://mobile.uk.msn.com/pc/mail.aspx=

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<body class=3D'hmmessage'>
hi once again...<BR>
thanks to the cumulative efforts of many people on this list especially And=
y Ewan and Matthias I now have 3 echoplex units working upgraded to loop 4 =
and free of hums.<BR>
&nbsp;<BR>
I have decided to hook them all up together and get the fcb1010 out...they =
are all working and the latency is not a real issue for me however im a lit=
tle stuck.. offsets....<BR>
&nbsp;<BR>
does anyone know the absoloute midi offsets for running three loop4 echople=
x's off one behringer fcb101 ??<BR>
&nbsp;<BR>
when&nbsp; i programmed edp 1 into the fcb1010 i deliberatly had the lowest=
 offset option (i knew back then when i would be like now)<BR>
&nbsp;<BR>
fine...<BR>
&nbsp;<BR>
i added in edp2 and programmed from where i left off offsetwise.. however i=
 noticed once i got the the highest numbers i use (22-sus replace i think) =
the offset i had chosen started wrapping round the fist echoplex with no of=
fset and i was thus activating unwanted funcitons on edp1 while controlling=
 edp 2<BR>
&nbsp;<BR>
no problem as such...i moved the offset on edp2 to a few other numbers and =
in the end found that 48 was enough to leave me clear (but i dont know by h=
ow much..there may be bags of room, i just picked it cos it seemed high)<BR=
>
&nbsp;<BR>
but then i add in edp3 ....<BR>
&nbsp;<BR>
first up i tried using an offset of 64 .... i figured that 0 - 48 - 64 seem=
ed like easy numbers to work with, however i kept triggering unwanted react=
ions in echoplex2 <BR>
&nbsp;<BR>
I knew 48 left me clear before so i doubled this offset giving me 96..<BR>
&nbsp;<BR>
this was great and worked however the final button i have is reset(25)...an=
d basically with the offset i would need a midi number of 131....obviously =
midi cops out at 127 so basically edp3 cant be reset via midi<BR>
&nbsp;<BR>
so finally my question is...does anyone know the absoloute midi offsets for=
 running three loop4 echoplex's off one behringer fcb101 without&nbsp; inte=
rference with each other if the highest non offset number i use is 25.<BR>
&nbsp;<BR>
if i can figure it out in time i wil and will also post if to the archives =
for future referance but if anyone has done the hard miles already i would =
appreciate you saving my thumbs all that pressing.<BR>
&nbsp;<BR>
thanks<BR>
Phill MyOneManBand<BR><br /><hr />Think you know your TV, music and film? <=
a href=3D'https://www.searchcharades.com' target=3D'_new'>Try Search Charad=
es!</a></body>
</html>=

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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 08:05:52 2008
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Subject: qualities of reverb
Date: Thu, 28 Feb 2008 09:05:43 +0100
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sometimes I love to listen to the dreamy music of Harold Budd, or Robin
Guthrie (Cocteau Twins). Their pianos and guitars are often drenched in a
very long and dense reverb that would put the Taj Mahal to shame - this
reverb has a depth, richness, and aliveness that is lovely to listen to, it
is not the linear, cold, and boring reverb that comes out of my Nanoverb.
How do they achieve that? it often doesn't sound as if they would simply use
echo or chorus to fatten the sound, it often seems to be nothing but reverb.
Is it just a matter of using one expensive reverb unit? Are there reverb
units which can create such a sound out of the box?

I've put a Robin Guthrie sample here as an example:
http://www.veloopity.de/temp/guthrie.mp3

Michael www.michaelpeters.de

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 08:08:17 2008
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Date: Thu, 28 Feb 2008 09:08:15 +0100
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Subject: Re: EDP midi offsets
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if i can figure it out in time i wil and will also post if to the archives
for future referance but if anyone has done the hard miles already i would
appreciate you saving my thumbs all that pressing.

please do this,  I am terrible with numbers and I would appreciate someone
else doing that work for me... ha ha

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if i can figure it out in time i wil and will also post if to the
archives for future referance but if anyone has done the hard miles
already i would appreciate you saving my thumbs all that pressing.<br><br>please do this,&nbsp; I am terrible with numbers and I would appreciate someone else doing that work for me... ha ha<br>

------=_Part_3430_10817667.1204186095448--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 08:23:58 2008
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Subject: Re: qualities of reverb
Date: Thu, 28 Feb 2008 09:23:56 +0100
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it sounds like a delay combined with some kind of cathedral reverb  
setting

On Feb 28, 2008, at 9:05 AM, Michael Peters wrote:

> sometimes I love to listen to the dreamy music of Harold Budd, or  
> Robin
> Guthrie (Cocteau Twins). Their pianos and guitars are often drenched  
> in a
> very long and dense reverb that would put the Taj Mahal to shame -  
> this
> reverb has a depth, richness, and aliveness that is lovely to listen  
> to, it
> is not the linear, cold, and boring reverb that comes out of my  
> Nanoverb.
> How do they achieve that? it often doesn't sound as if they would  
> simply use
> echo or chorus to fatten the sound, it often seems to be nothing but  
> reverb.
> Is it just a matter of using one expensive reverb unit? Are there  
> reverb
> units which can create such a sound out of the box?
>
> I've put a Robin Guthrie sample here as an example:
> http://www.veloopity.de/temp/guthrie.mp3
>
> Michael www.michaelpeters.de
>
>

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 09:11:22 2008
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Michael Peters wrote:
> sometimes I love to listen to the dreamy music of Harold Budd, or Robin
> Guthrie (Cocteau Twins). Their pianos and guitars are often drenched in a
> very long and dense reverb that would put the Taj Mahal to shame - this
> reverb has a depth, richness, and aliveness that is lovely to listen to, it
> is not the linear, cold, and boring reverb that comes out of my Nanoverb.
> How do they achieve that? it often doesn't sound as if they would simply use
> echo or chorus to fatten the sound, it often seems to be nothing but reverb.
> Is it just a matter of using one expensive reverb unit?

Yes, no skill involved :-)

> Are there reverb
> units which can create such a sound out of the box?

Lexicon PCM90 maybe PCM80
(or a pricier Lexicon)

Lexicon are known for nice sounding reverbs, rather than for accurately reproducing real ones.

The cheaper Lexicon units may be worth checking out, any of them will put the Nanoverb to shame.
I really like the Lexicon Alex(or Reflex) ,which can be bought cheap these days, but I'm not sure it will get that sound you're after. 

andy butler

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 09:29:40 2008
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Subject: Re: workaround for gap in first loop? (was: Boss RC50 delay issues)
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electro harmonix' 2880 has the same problem: when you close a loop, the =
first bit gets swallowed and reappears after repetition of the first =
loop. you can work around by playing/singing what's supposed to be there =
on the one.
unfortunately this little bitty of overlap will land in the next track.
not nice...

tilmann

  ----- Original Message -----=20
  From: Sean Mormelo=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Wednesday, February 27, 2008 11:10 PM
  Subject: Re: workaround for gap in first loop? (was: Boss RC50 delay =
issues)


  this is very true...If you turn off the loop quantize you get a volume =
drop when you begin recording your phrase but upon playback there is NO =
GAP...I do not use the loop quantize and I get no gap in sound =
whatsoever upon playback....My only complaint thus far with the RC50 =
unit at this point is the timestretch is unusable and that was the MAIN =
reason I bought it. Other then that this unit so far has proven to be =
more then I need but YMMV.




  On Feb 27, 2008, at 3:37 PM, Sjaak wrote:


    I've seen a lot of complaints about the RC-50 on this list. Imo the =
issue is caused by the loop quantize feature and infact it's documented =
in the 1.01 OS release notes. But if you carefully read the release =
notes the workaround is not to use the rhythmn mode. Let's first take a =
good look at the release notes.


    -----
    * Priority Given to Rhythm (Factory Default) *
    This preserves the performance rhythm from the time that recording =
started.
    When you operate the pedal, the performance-start location is =
adjusted and playback is started accordingly. Although it may sometimes =
sound as if playback has started from the middle of a phrase, from the =
following loop, playback takes place as recorded.


    * Priority Given to Sound *
    This starts playback from the beginning of the recorded data.


    Note, however, that for the rhythm guide, recorded phrases, or =
recordings synchronized with MIDI, playback starts with =93Rhythm =
Priority.=94
    -----


    What you have to do is this:
    - put your RC-50 in Sound Priority mode (see release notes for =
details)
    - do NOT use the Rhythm guide; this will turn the loop quantize =
feature on and causes the gap


    Btw: I've tested the issue 25 times today and imo above procedure =
avoids the problem. I hope this helps :)


    Sjaak
    ---
    Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
    http://www.scarlet.be/




  Sean Mormelo
  sean@seanmormelo.com
  www.seanmormelo.com
  www.myspace.com/seanmormelo








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<DIV><FONT face=3DArial size=3D2>electro harmonix' 2880 has the same =
problem: when=20
you close a loop, the first bit gets swallowed and reappears after =
repetition of=20
the first loop. you can work around by playing/singing what's supposed =
to be=20
there on the one.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>unfortunately this little bitty of =
overlap will=20
land in the next track.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>not nice...</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>tilmann</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dsean@seanmormelo.com =
href=3D"mailto:sean@seanmormelo.com">Sean=20
  Mormelo</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Wednesday, February 27, =
2008 11:10=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: workaround for gap =
in first=20
  loop? (was: Boss RC50 delay issues)</DIV>
  <DIV><BR></DIV>this is very true...If you turn off the loop quantize =
you get a=20
  volume drop when you begin recording your phrase but upon playback =
there is NO=20
  GAP...I do not use the loop quantize and I get no gap in sound =
whatsoever upon=20
  playback....My only complaint thus far with the RC50 unit at this =
point is the=20
  timestretch is unusable and that was the MAIN reason I bought it. =
Other then=20
  that this unit so far has proven to be more then I need but YMMV.
  <DIV><BR class=3Dwebkit-block-placeholder></DIV>
  <DIV><BR>
  <DIV>
  <DIV>On Feb 27, 2008, at 3:37 PM, Sjaak wrote:</DIV><BR=20
  class=3DApple-interchange-newline>
  <BLOCKQUOTE type=3D"cite">
    <DIV style=3D"MARGIN: 0px">I've seen a lot of complaints about the =
RC-50 on=20
    this list. Imo the issue is caused by the loop quantize feature and =
infact=20
    it's documented in the 1.01 OS release notes. But if you carefully =
read the=20
    release notes the workaround is not to use the rhythmn mode. Let's =
first=20
    take a good look at the release notes.</DIV>
    <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
    <DIV style=3D"MARGIN: 0px">-----</DIV>
    <DIV style=3D"MARGIN: 0px">* Priority Given to Rhythm (Factory =
Default)=20
*</DIV>
    <DIV style=3D"MARGIN: 0px">This preserves the performance rhythm =
from the time=20
    that recording started.</DIV>
    <DIV style=3D"MARGIN: 0px">When you operate the pedal, the =
performance-start=20
    location is adjusted and playback is started accordingly. Although =
it may=20
    sometimes sound as if playback has started from the middle of a =
phrase, from=20
    the following loop, playback takes place as recorded.</DIV>
    <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
    <DIV style=3D"MARGIN: 0px">* Priority Given to Sound *</DIV>
    <DIV style=3D"MARGIN: 0px">This starts playback from the beginning =
of the=20
    recorded data.</DIV>
    <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
    <DIV style=3D"MARGIN: 0px">Note, however, that for the rhythm guide, =
recorded=20
    phrases, or recordings synchronized with MIDI, playback starts with =
=93Rhythm=20
    Priority.=94</DIV>
    <DIV style=3D"MARGIN: 0px">-----</DIV>
    <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
    <DIV style=3D"MARGIN: 0px">What you have to do is this:</DIV>
    <DIV style=3D"MARGIN: 0px">- put your RC-50 in Sound Priority mode =
(see=20
    release notes for details)</DIV>
    <DIV style=3D"MARGIN: 0px">- do NOT use the Rhythm guide; this will =
turn the=20
    loop quantize feature on and causes the gap</DIV>
    <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
    <DIV style=3D"MARGIN: 0px">Btw: I've tested the issue 25 times today =
and imo=20
    above procedure avoids the problem. I hope this helps :)</DIV>
    <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
    <DIV style=3D"MARGIN: 0px">Sjaak</DIV>
    <DIV style=3D"MARGIN: 0px">---</DIV>
    <DIV style=3D"MARGIN: 0px">Scarlet One, ADSL 6 Mbps + Telefonie, =
vanaf EUR=20
    29,95...</DIV>
    <DIV style=3D"MARGIN: 0px"><A=20
    href=3D"http://www.scarlet.be">http://www.scarlet.be</A>/</DIV>
    <DIV style=3D"MIN-HEIGHT: 14px; MARGIN: =
0px"><BR></DIV></BLOCKQUOTE></DIV><BR>
  <DIV><SPAN class=3DApple-style-span=20
  style=3D"WORD-SPACING: 0px; FONT: 12px Helvetica; TEXT-TRANSFORM: =
none; COLOR: rgb(0,0,0); TEXT-INDENT: 0px; WHITE-SPACE: normal; =
LETTER-SPACING: normal; BORDER-COLLAPSE: separate; border-spacing: 0px =
0px; khtml-text-decorations-in-effect: none; apple-text-size-adjust: =
auto; orphans: 2; widows: 2">
  <DIV>Sean Mormelo</DIV>
  <DIV><A =
href=3D"mailto:sean@seanmormelo.com">sean@seanmormelo.com</A></DIV>
  <DIV>www.seanmormelo.com</DIV>
  <DIV>www.myspace.com/seanmormelo</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV><BR=20
  =
class=3DApple-interchange-newline></SPAN></DIV><BR></DIV></BLOCKQUOTE></B=
ODY></HTML>

------=_NextPart_000_003C_01C87AE3.D8B4EDC0--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 09:41:20 2008
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Date: Thu, 28 Feb 2008 10:41:17 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: EDP midi offsets
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On Thu, Feb 28, 2008 at 2:28 AM, phillip wilson <phillwilson@hotmail.com> wrote:


>  this was great and worked however the final button i have is
> reset(25)...and basically with the offset i would need a midi number of
> 131....obviously midi cops out at 127 so basically edp3 cant be reset via
> midi
>
>  so finally my question is...does anyone know the absoloute midi offsets for
> running three loop4 echoplex's off one behringer fcb101 without
> interference with each other if the highest non offset number i use is 25.


I've never calculated much on MIDI note number off-set because I only
have one EDP. But it just hit me that you can make a choice for midi
control, at the EDP front panel menu, either to be handled by midi
notes or by midi CC's. I have always used MIDI notes but how about
looking into controlling the third EDP by MIDI CC's? Just a wild idea
that maybe works, maybe not.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 10:12:25 2008
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Date: Thu, 28 Feb 2008 02:12:23 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: qualities of reverb OT
To: Loopers-Delight@loopers-delight.com
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Hey Andy seems like you ve tried them,do any of these
units include a decent chorus and poly octave to do
bass lines with the acoustic as well?
I am also waiting to hear reviews from the upcoming TC
nova system,seems like this one would have it all!
cheers
Luis


--- andy butler <akbutler@tiscali.co.uk> wrote:

> 
> 
> Michael Peters wrote:
> > sometimes I love to listen to the dreamy music of
> Harold Budd, or Robin
> > Guthrie (Cocteau Twins). Their pianos and guitars
> are often drenched in a
> > very long and dense reverb that would put the Taj
> Mahal to shame - this
> > reverb has a depth, richness, and aliveness that
> is lovely to listen to, it
> > is not the linear, cold, and boring reverb that
> comes out of my Nanoverb.
> > How do they achieve that? it often doesn't sound
> as if they would simply use
> > echo or chorus to fatten the sound, it often seems
> to be nothing but reverb.
> > Is it just a matter of using one expensive reverb
> unit?
> 
> Yes, no skill involved :-)
> 
> > Are there reverb
> > units which can create such a sound out of the
> box?
> 
> Lexicon PCM90 maybe PCM80
> (or a pricier Lexicon)
> 
> Lexicon are known for nice sounding reverbs, rather
> than for accurately reproducing real ones.
> 
> The cheaper Lexicon units may be worth checking out,
> any of them will put the Nanoverb to shame.
> I really like the Lexicon Alex(or Reflex) ,which can
> be bought cheap these days, but I'm not sure it will
> get that sound you're after. 
> 
> andy butler
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 10:16:52 2008
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Date: Thu, 28 Feb 2008 02:16:50 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: qualities of reverb
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Hey Michael,
thanx for this,its beautiful i wasnt aware of such
artist.
Do you also know any artists that do beautiful sort of
fripp slow but real bowed string soundscapes?
cheers
Luis

> >
> > I've put a Robin Guthrie sample here as an
> example:
> > http://www.veloopity.de/temp/guthrie.mp3
> >
> > Michael www.michaelpeters.de
> >
> >
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 10:26:06 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: qualities of reverb
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On Thu, Feb 28, 2008 at 9:05 AM, Michael Peters <mp@mpeters.de> wrote:
> sometimes I love to listen to the dreamy music of Harold Budd, or Robin
>  Guthrie (Cocteau Twins). Their pianos and guitars are often drenched in a
>  very long and dense reverb that would put the Taj Mahal to shame - this
>  reverb has a depth, richness, and aliveness that is lovely to listen to, it
>  is not the linear, cold, and boring reverb that comes out of my Nanoverb.
>  How do they achieve that? it often doesn't sound as if they would simply use
>  echo or chorus to fatten the sound, it often seems to be nothing but reverb.
>  Is it just a matter of using one expensive reverb unit? Are there reverb
>  units which can create such a sound out of the box?
>
>  I've put a Robin Guthrie sample here as an example:
>  http://www.veloopity.de/temp/guthrie.mp3
>
>  Michael www.michaelpeters.de



There's a fair chance the effect you're after is what often is
referred to as "freeze reverb". First time I heard it was at a Joh
Hassell concert in 1983. It sounds amazing!

It might be appropriate to also describe it as "a reverb loop". It can
be achieved in many ways. Last year I had a TC Electronics FirworX and
I set it up lined up with an Input Envelope Follow module. I set the
Envelope Follow Module was set to modulate the effect's feedback in a
way that feedback was always 100 percent when I wasn't playing any
audio input. But as soon as I made a noise into the mic the feedback
was lowered, by the Envelope Follow Module on the input, to create a
"pocket" in the layered "frozen" sound to fit in the latest audio
input. Unfortunately I couldn't make it work with TC's reverb, but I
reached a quite useful patch by doing it with a reverb-like multi tap
delay.

If you have a chance to play around with Ableton Live you have to
check out the reverb pre-set named "Freezeverb". It woks like my
FireworX patch described above, but with a pure reverb. The reverb
sound is thin, but that is good starters since you can work on it
(chorus the reverb sound or make it multi band to add differently
"rhythmatized" tremolo to different frequency bands of the reverb's
return signal.

If you work with Bidule or Max you can set up an Input Envelope Follow
process to target just about any other process, preferably "feedback"
in a reverb loop. If you do that, it might be a good idea to either
use pre-delay in the reverb patch or include a short delay in the
effect chain, just to prevent acoustic feedback to happen. I tried
that with Sir convolution reverb plug-in, but found it too CPU
consuming on all laptop systems I have yet had access to. The multi
processor support in Bidule is still not working properly, but when
that happens I will go back to that project. For Windows there is a
multi effect VST plug-in, named Ronin, that has a built-in Input
Envelop Follower function so I stick to that so far.

A third technique is what we hear in the Robin Guthrie example: Not
sending everything into the reverb loop. If you listen to the clip it
is obvious that Robin only sends the first eighth note (or maybe a
little longer slice) into the reverb. Since it is a FreezVerb
functionality (as described above) this short snippet "spreads out" to
sound more like a trembling pad than the guitar string sound he fed it
with. David Gilmour, of the Pink Floyd, is also known for having done
this trick at live concerts. You can set up a momentary button pedal
to send whatever noise you are making into the reverb loop.

Hmm... maybe the plug-in River Run also should be mentioned here. It
can only be bought as part of the Nautilus bundle from Audio Ease.
It's not a reverb but more like a "granular looper" that picks one
slice of the audio input and stretches it out in time. But the cool
thing is that the window for picking the slice is also moving along
the input signal. I first heard it in the American television show
Supernatural, before knowing how this effect was produced, but then I
saw soundtrack composer Steve Tavaglione talk about it and
demonstrating it in a video interview. Steve uses the version of the
plug-in that comes as part of the Digital Performer DAW software, but
I think it's the same as the Nautilus bundle version (which is the one
I have). River Run only runs on OS X.

When talking OS X there are also some interesting granular audio
freezing plug-ins available for free from the composer Michael Norris
called Soundmagic Spectral.
http://www.michaelnorris.info/soundmagicspectral/. For any Harold Budd
fans this is a must-have :-)

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 11:04:07 2008
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hi Luis
the Alex has a nice chorus.

I haven't used the higher end Lex stuff, just heard it used .


The PCM90/91 is a dedicated reverb,
the PCM80/81 also has some effects.

Lexicon said that the algorithms in the cheaper MPX100(which I have) are pretty the same as the high end units (obviously with less detailed reverb, and without the high end analog path) and based on that I wouldn't recommend lexicon pitch shifting.

For bass lines, Per used to have the TC Fireworx which did a pretty good imitation of a bass when he plugged his guitar in....don't know about latency though.(doesn't ever bother Per :-)

Generally the harmoniser type effects introduce too much delay to be good for basslines,
only harmoniser I've heard that tracks without delay is in the new ElectroHarmonix stuff,
the POG, microPOG and HOG, but thought the sound was a bit wierd, and the pitch up was so flat it was unusable.
(it's not possible to do pitch shift up without some delay, but pitch down is possible)

andy
 

L.A. Angulo wrote:
> Hey Andy seems like you ve tried them,do any of these
> units include a decent chorus and poly octave to do
> bass lines with the acoustic as well?
> I am also waiting to hear reviews from the upcoming TC
> nova system,seems like this one would have it all!
> cheers
> Luis
> 
> 

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 11:06:29 2008
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Subject: Re: qualities of reverb
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Hi Michael,

of course these early classics benefit enormously from the early digital
reverbs that were available back then. Brian Eno used the Lexicon 224 most
prominently on "The Pearl", plus some Eventide Harmonizer (probably the 910,
as I believe the 949 wasn´t available around that time).

I wouldn´t go for a vintage Lexicon today because it can be a hard piece of
work to get them fixed in case they break. A Dynacord DRP-20(X) is my secret
weapon for getting these huge and airy reverbs at a decent price (oops, now
I gave away a secret...). The Dynacord is slightly noisy (hissy) but this
can be filtered out rather easily (RSP Hush 2000 does miracles). It does
"freeze" reverbs as well as various room simulations, and my tech told me
the Dynacord used exactly the same processor as the Lexicon PCM-70, just the
algorithms differed. In fact, I compared them, and I think the Lexicon
excels at smaller room ambiences while the Dynacord can sound really huge.
Adding a little external chorusing to the reverb (e. g. Roland Dimension D)
produces these lovely, blurred washes of reverb. Just awesome! The DRP-15 is
the smaller 1U version of the 20 but I was told it sounds even better,
without that annoying hiss.

You might also want to give the Roland SRV-330 or Sony DPS-R7 a try. Very
underrated because they are *not* Lexicons...

Hope that helps,

Stephen.

____________________________________________________________________

"Ambition makes you look pretty ugly, kicking squealing Gucci little piggy."
(Thom Yorke/Radiohead -- "Paranoid Android")

Finally available: Stephen Parsick -- Traces of the Past Redux, reissued
with three previously unreleased bonus tracks.

It´s out: [´ramp] & markus reuter -- "ceasing to exist", a gorgeous dark
ambient album. available through our webshop at www.doombient.com

For info and audio, please visit the official [´ramp] website at
www.doombient.com

----- Original Message ----- 
From: "Michael Peters" <mp@mpeters.de>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, February 28, 2008 9:05 AM
Subject: qualities of reverb


> sometimes I love to listen to the dreamy music of Harold Budd, or Robin
> Guthrie (Cocteau Twins). Their pianos and guitars are often drenched in a
> very long and dense reverb that would put the Taj Mahal to shame - this
> reverb has a depth, richness, and aliveness that is lovely to listen to,
it
> is not the linear, cold, and boring reverb that comes out of my Nanoverb.
> How do they achieve that? it often doesn't sound as if they would simply
use
> echo or chorus to fatten the sound, it often seems to be nothing but
reverb.
> Is it just a matter of using one expensive reverb unit? Are there reverb
> units which can create such a sound out of the box?
>
> I've put a Robin Guthrie sample here as an example:
> http://www.veloopity.de/temp/guthrie.mp3
>
> Michael www.michaelpeters.de

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 11:10:56 2008
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On Thu, Feb 28, 2008 at 12:03 PM, andy butler <akbutler@tiscali.co.uk> wrote:

>
>  For bass lines, Per used to have the TC Fireworx which did a pretty good imitation of a
> bass when he plugged his guitar in....don't know about latency though.(doesn't ever bother Per :-)


Felt no latency at all with the TC.

I was actually able to "play bass" with a stratocaster, even though I
found it more fun to imitate a bass clarinet by using the neck pickup
on high strings and two octaves down-shift in the TC ;-) I don't own
that TC anymore, since I had to sell it to afford a new audio
interface when my old one broke down three days before a row of
festival gigs last year. Now I have two audio interfaces handy, to be
on the safe side (but no TC... <sniff>)

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 11:24:10 2008
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From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen to Afterglow and Galactic Travels
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AFTERGLOW ON WMUH:                      http://soundscapes.us/afterglow
=======================================================================
Afterglow airs from 8:00 am to 9:30 am every Thursday morning.  Tune in
for a delightful mix of eclectic musical genres including a healthy
dose of Progressive Rock.  Tune in at 91.7 FM or on the internet at:
http://muhlenberg.edu/wmuh
Check out Afterglow on MySpace at:
http://myspace.com/afterglowonwmuh


GALACTIC TRAVELS ON WDIY:                   http://galactictravels.info
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll conclude the month-long
Special focus on Manikin Records.  The Featured CD at Midnight will be
disk 2 from "Liquid Sound Volume 2" on Manikin Records.  For details,
see the Special Focus page at:
http://wdiy.org/programs/gt/playlists/2008/focus.html#feb
Check out Galactic Travels on MySpace at:
http://myspace.com/galactictravels

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, on the internet, and in High Definition Radio at 88.1
FM.


======================================================================
All times are EST / GMT-5.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
directly to: http://rm1.refugemedia.com/ramgen/encoder/wdiy.rm

Listen on-line to WMUH at http://www.muhlenberg.edu/wmuh and click the
REAL AUDIO link or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 11:30:38 2008
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
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Subject: AW: qualities of reverb
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> hard piece of work to get them fixed in case they break. A=20
> Dynacord DRP-20(X) is my secret weapon for getting these huge=20
> and airy reverbs at a decent price (oops, now I gave away a=20
> secret...). The Dynacord is slightly noisy (hissy) but this=20

My secret "bang for the buck surreal reverb" weapon ist the Zoom 1201. =
At used prices around =E2=82=AC25, you can't go wrong...

	Rainer

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 13:52:10 2008
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youhou, Phillip!

I understand your problem is that the fcb1010 only sends on one MIDI  
channel
but remember the EDP can receive Notes or CC equally
so you could use notes for two units and CC for the third, for  
example, no? (I dont have a fcb1010...)

good luck
Matthias

On 27 Feb 2008, at 22:28, phillip wilson wrote:

> hi once again...
> thanks to the cumulative efforts of many people on this list  
> especially Andy Ewan and Matthias I now have 3 echoplex units  
> working upgraded to loop 4 and free of hums.
>
> I have decided to hook them all up together and get the fcb1010  
> out...they are all working and the latency is not a real issue for  
> me however im a little stuck.. offsets....
>
> does anyone know the absoloute midi offsets for running three loop4  
> echoplex's off one behringer fcb101 ??
>
> when  i programmed edp 1 into the fcb1010 i deliberatly had the  
> lowest offset option (i knew back then when i would be like now)
>
> fine...
>
> i added in edp2 and programmed from where i left off offsetwise..  
> however i noticed once i got the the highest numbers i use (22-sus  
> replace i think) the offset i had chosen started wrapping round the  
> fist echoplex with no offset and i was thus activating unwanted  
> funcitons on edp1 while controlling edp 2
>
> no problem as such...i moved the offset on edp2 to a few other  
> numbers and in the end found that 48 was enough to leave me clear  
> (but i dont know by how much..there may be bags of room, i just  
> picked it cos it seemed high)
>
> but then i add in edp3 ....
>
> first up i tried using an offset of 64 .... i figured that 0 - 48 -  
> 64 seemed like easy numbers to work with, however i kept triggering  
> unwanted reactions in echoplex2
>
> I knew 48 left me clear before so i doubled this offset giving me 96..
>
> this was great and worked however the final button i have is  
> reset(25)...and basically with the offset i would need a midi number  
> of 131....obviously midi cops out at 127 so basically edp3 cant be  
> reset via midi
>
> so finally my question is...does anyone know the absoloute midi  
> offsets for running three loop4 echoplex's off one behringer fcb101  
> without  interference with each other if the highest non offset  
> number i use is 25.
>
>
> thanks
> Phill MyOneManBand

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Rainer Thelonius Balthasar Straschill wrote:

> My secret "bang for the buck surreal reverb" weapon ist the Zoom 1201. At used prices around â‚¬25, you can't go wrong...
> 
> 	Rainer
> 

cheap sounding reverbs on the 1201,
it produces a rather nasty version of Michael's desired effect.
..but it's certainly a fun bit of gear.

That bank of filters is a favourite,
and the pitch shift is one of the better ones I've heard if you're playing guitar chords into it.

andy


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>>.....or Robin Guthrie (Cocteau Twins). Their pianos and guitars are
often drenched in a very long and dense reverb that would put the Taj
Mahal to shame - this reverb has a depth, richness, and aliveness that
is lovely to listen to, it is not the linear, cold, and boring
reverb....<<

a lot depends on the vintage of the robin guthrie/cocteaus material, but
I could probably find out from a former engineer of theirs.... chances
are, though, that it's an AMS or an early lexicon. robin was rather fond
of his effects.... on one visit to the studio (which is now occupied by
pete townshend again), I was shown a cupboard full of stomp-boxes, many
of them labelled with the names of songs by the cocteaus. sometimes
there were three or four of the same pedal, with different settings &
song-titles labelled on them.
I'm pretty sure that the AMS unit could either do (out of the box) or be
modified to do the frozen-reverb effect.=20

a trick I've used to imitate this with my trusty microverb on it's "#16"
(canyon) setting, is to put it /upstream/ of a long tape delay, & so
that only the wet signal goes to the delay. feed the output (again, only
the wet, or you'll get howlround) back into the reverb. it won't go on
for ever without getting messy/unstable, but it will last long enough
for most musical purposes!=20

the best technique with this effect is to avoid sending transients into
the system, & use a volume pedal in y'r main send. I prefer not to add
chorus to this effect, letting the stereo tape-delay take care of this
on it's own. if you can, incorporate a high-pass filter or otherwise
somehow roll off the bass going into the system. this will make it sound
more airy & ethereal.
nowadays, I either use the microverb or my great-british-spring (stereo
in/out), & a line6 echo-pro.

duncan.



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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 14:35:09 2008
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Matthias Grob wrote:
> youhou, Phillip!
> 
> I understand your problem is that the fcb1010 only sends on one MIDI 
> channel

Note-On on one ch, but other channels for CC, PC

> but remember the EDP can receive Notes or CC equally
> so you could use notes for two units and CC for the third, for example, 
> no? (I dont have a fcb1010...)

:-(
no, because the fcb won't send the equivalent of a Note-Off when doing CCs.

So, every press would be identified as a LongPress.

It's possible to program a switch to do a ShortPress by using 2 CCs, but then of course you use the LongPress function.

It might be possible to work out enough functions to make it work,
but you won't be able to get both LongPress and ShortPress functions from he same button
 

andy

> 
> good luck
> Matthias
> 

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  Michael,

What I hear in that clip is actually a pad underlying the guitar. 
though I can see why you might think it is purely the reverb 
generating the lushness.

  I happen to know for a fact that the Cocteau Twins were huge fans of 
the Lexicon PCM-70 and in fact that is the reverb I hear on this 
clip, specifically the concert hall algorhythm.  The Concert Hall has 
a parameter called  "Chorusing" which simply modulates a few of the 
recirculating delays and gives a very haunting shimmer.


-Chuck Zwicky
-- 
...
http://www.zmix.net

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 14:55:18 2008
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Excellent question. I'd like to know what Terje Rypdal uses in the studio as 
well. His reverbs seem to trail into infinity and are HUGE, yet there is 
still a sense of direct presense to the instruments. I usually achieve this 
by using long decays (3-4ms) and large room reverbs; however, I keep the dry 
mix relatively high - so I hear the instrument very clear and up front, but 
then there is this massive reflection afterwards. Of course, I can't match 
the quality of Terje's reverb, but the principle is similar. The Waves 
reverb isn't half bad for mastering. For my laptop rig, I use a Max/msp 
reverb. It is a very difficult object to create.

Kris

----- Original Message ----- 


> sometimes I love to listen to the dreamy music of Harold Budd, or Robin
> Guthrie (Cocteau Twins). Their pianos and guitars are often drenched in a
> very long and dense reverb that would put the Taj Mahal to shame - this
> reverb has a depth, richness, and aliveness that is lovely to listen to, 
> it
> is not the linear, cold, and boring reverb that comes out of my Nanoverb.
> How do they achieve that? it often doesn't sound as if they would simply 
> use
> echo or chorus to fatten the sound, it often seems to be nothing but 
> reverb.
> Is it just a matter of using one expensive reverb unit? Are there reverb
> units which can create such a sound out of the box?
>
> I've put a Robin Guthrie sample here as an example:
> http://www.veloopity.de/temp/guthrie.mp3
>
> Michael www.michaelpeters.de
> 

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Wow Per, I love your informative posts! I can't add much, but I wanted
to point out the Free Windows VST FreeverbToo has nice "Freeze"
button:
http://www.sinusweb.de/freetoo.html

It's a pretty painless way for anyone who would like to experiment
with freeze reverb.

On Thu, Feb 28, 2008 at 2:26 AM, Per Boysen <perboysen@gmail.com> wrote:
>
>

-- 
Art Simon
simart@null.net
art.simon.tripod.com
myspace [dot] com/artsimon

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about the reverb thing:

Good algorithms are also the Eventide detune plex or diffchorus in
combination with reverb algorithms.

> reverb, but the principle is similar. The Waves reverb isn't 
> half bad for mastering. For my laptop rig, I use a Max/msp 
> reverb. It is a very difficult object to create.

Normally, (pre-)mastering is not the processing stage to add reverb.

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FWIW...if you want to "move up" (or simply move away) from the NanoVerb you=
 are using, but don't want to throw down a bunch of $$, I have a very sligh=
tly used (used only a couple of times...and in the box) Lexicon MPX110 whic=
h I will let go cheap.  The reverbs (as well as the mod programs) are quite=
 good...and you might find something that is similar to the Robin Guthrie s=
ound you were looking for (I too am pretty sure they used the older Lexi bo=
xes back then for that effect...).  The 110 is pretty cool (but I just simp=
ly don't use it...) with dual processors; verbs, delays, chorus, flange, sh=
ift, tremolo/rotary..and some pretty interesting special effects incl some =
big verbs which sound a lot like the "freeze verb" described earlier.
=20
Write me off list if interested.....
=20
Max
_________________________________________________________________
Connect and share in new ways with Windows Live.
http://www.windowslive.com/share.html?ocid=3DTXT_TAGHM_Wave2_sharelife_0120=
08=

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FWIW...if you want to "move up" (or simply move away) from the NanoVerb you=
 are using, but don't want to throw down a bunch of $$, I have a very sligh=
tly used (used only a couple of times...and in the box) Lexicon MPX110 whic=
h I will let go cheap.&nbsp; The reverbs (as well as the mod programs) are =
quite good...and you might find something that is similar to the Robin Guth=
rie sound you were looking for (I too am pretty sure they used the older Le=
xi boxes back then for that effect...).&nbsp; The 110 is pretty cool (but I=
 just simply don't use it...) with dual processors; verbs, delays, chorus, =
flange, shift, tremolo/rotary..and some pretty interesting special effects =
incl some big verbs which sound a lot like the "freeze verb" described earl=
ier.<BR>
&nbsp;<BR>
Write me off list if interested.....<BR>
&nbsp;<BR>
Max<BR><BR><BR><br /><hr />Connect and share in new ways with Windows Live.=
 <a href=3D'http://www.windowslive.com/share.html?ocid=3DTXT_TAGHM_Wave2_sh=
arelife_012008' target=3D'_new'>Get it now!</a></body>
</html>=

--_61ad34ac-9a0d-459f-907a-354973c2988d_--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 15:19:12 2008
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Subject: Re: EDP+ schematics?
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Hi, 
I had a similar problem.   Turns out the internal components of the unit were 
getting jarred loose from air travel.   Reseated everything and it was fine.  
 
As for schematics, looks like there is one here:
http://www.schematicconnection.com/store/asp/prodtype.asp?prodtype=145

Good luck, 

www.donovanstokes.com
http://members.sibeliusmusic.com/donovanstokes
www.myspace.com/donovanstokes



**************
Ideas to please picky eaters. Watch video on AOL Living.
      
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duffy/
2050827?NCID=aolcmp00300000002598)

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">Hi, <BR>
I had a similar problem.&nbsp;  Turns out the internal components of the uni=
t were getting jarred loose from air travel.&nbsp;  Reseated everything and=20=
it was fine.&nbsp;  <BR>
As for schematics, looks like there is one here:<BR>
http://www.schematicconnection.com/store/asp/prodtype.asp?prodtype=3D145<BR>
<BR>
Good luck, <BR>
<BR>
www.donovanstokes.com<BR>
http://members.sibeliusmusic.com/donovanstokes<BR>
www.myspace.com/donovanstokes<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Ideas to please picky eaters. Watch=20=
video on AOL Living.<BR>      (http://living.aol.com/video/how-to-please-you=
r-picky-eater/rachel-campos-duffy/2050827?NCID=3Daolcmp00300000002598)</HTML=
>

--part1_bde.2b0798cf.34f82adb_boundary--

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 15:22:27 2008
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References: <20080227193255.740433BEEC@arsenic.violacea.com> <000701c879e0$b7d2f470$fe78a8c0@mpeserver>
Subject: Re: qualities of reverb 
Date: Thu, 28 Feb 2008 16:22:21 +0100
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As a fan on the Eno/Budd works and also of Cocteau Twins, I'm too interested 
in this discussion.
About two weeks ago I've seen Robin playing live in a club here in Rome and 
i've would like to ask him about that sound, but it was impossible to meet 
him, cause his show was not so appreciated by the audience (i think it 
wasn't the right place for his music).
For those of you who are interested, he played a fender stratocaster all the 
time and had a Repeater, a laptop and other small (unknown) stuff put on the 
table near him, but i haven't understand what kind of stuff it was, neither 
the floorpedal he used.
For what i understand seein him is that every song was started by the 
laptop; he had a clock signal in the earphone to start playing at the right 
time and on every cycle of the loop he was adding something new, using the 
looper in a conventional way, like a jam-man. The laptop was used just for 
the clock  and for playing his "tipical" drum tracks on the background.
No improvvisation: he played songs with a predefined start, evolution and 
end.

About your question: as you know, i'm not a guitar player, and in the past 
years i worked on programming by myself  the timbres i use in my set-up, 
working with the reverbs and a little of chorus that reside inside my 
keyboards, so i'm not the right person to give you a suggestion about an 
external reverb box.

But, recently, with the aid of Per and Krispen, i have discovered that the 
PSP 84 VST plugin has deep and beautiful reverbs.
If you have this plugin, you'll find a preset called "Haunted Playground" 
that emulate very well the sound reverb you are looking for.
Adjusted some parameters to fit your needs and you can have Harold Budd 
and/or Robin Guthrie playing in your house ; -)


Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo


----- Original Message ----- 
From: "Michael Peters" <mp@mpeters.de>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, February 28, 2008 9:05 AM
Subject: qualities of reverb


> sometimes I love to listen to the dreamy music of Harold Budd, or Robin
> Guthrie (Cocteau Twins). Their pianos and guitars are often drenched in a
> very long and dense reverb that would put the Taj Mahal to shame - this
> reverb has a depth, richness, and aliveness that is lovely to listen to, 
> it
> is not the linear, cold, and boring reverb that comes out of my Nanoverb.
> How do they achieve that? it often doesn't sound as if they would simply 
> use
> echo or chorus to fatten the sound, it often seems to be nothing but 
> reverb.
> Is it just a matter of using one expensive reverb unit? Are there reverb
> units which can create such a sound out of the box?
>
> I've put a Robin Guthrie sample here as an example:
> http://www.veloopity.de/temp/guthrie.mp3
>
> Michael www.michaelpeters.de
>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.5.516 / Virus Database: 269.21.1/1302 - Release Date: 
> 27/02/2008 16.34
>
> 

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From: "Andy Ewen" <andy.ewen@btinternet.com>
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Subject: RE: EDP+ schematics?
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The schematics for the Blackface EDP+ are on the CD ROM with the manual. =

Magnus, I=92ve sent them to you separately anyway.

________________________________________
From: Donearlsto@aol.com [mailto:Donearlsto@aol.com]=20
Sent: 28 February 2008 15:19
To: magnus@bcbnet.dk; Loopers-Delight@loopers-delight.com
Subject: Re: EDP+ schematics?

Hi,=20
I had a similar problem.=A0 Turns out the internal components of the =
unit were
getting jarred loose from air travel.=A0 Reseated everything and it was =
fine.=A0

As for schematics, looks like there is one here:
http://www.schematicconnection.com/store/asp/prodtype.asp?prodtype=3D145

Good luck,=20

www.donovanstokes.com
http://members.sibeliusmusic.com/donovanstokes
www.myspace.com/donovanstokes



**************
Ideas to please picky eaters. Watch video on AOL Living.
(http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos=
-du
ffy/2050827?NCID=3Daolcmp00300000002598)

No virus found in this incoming message.
Checked by AVG Free Edition.
Version: 7.5.516 / Virus Database: 269.21.1/1300 - Release Date: =
26/02/2008
19:50

No virus found in this outgoing message.
Checked by AVG Free Edition.=20
Version: 7.5.516 / Virus Database: 269.21.1/1300 - Release Date: =
26/02/2008
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=20

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 16:22:14 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Memory Man with Hazari
Date: Thu, 28 Feb 2008 11:22:01 -0500
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Just picked up a Electro -Harmonix Stereo Memory Man with Hazari and have to say I am very impressed.
Sounds great, gets VERY weird when tweaked and even has a little? room inside for modding.
I think it will be a hit for them.
A+

Bill? 


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<div> <br>
</div>
<font face="Arial, Helvetica, sans-serif">Just picked up a Electro -Harmonix Stereo Memory Man with Hazari and have to say I am very impressed.<br>
Sounds great, gets VERY weird when tweaked and even has a little&nbsp; room inside for modding.<br>
I think it will be a hit for them.<br>
A+<br>
<br>
Bill&nbsp; </font><!-- end of AOLMsgPart_0_2a745d07-d7ef-46ae-adf7-6dd3abcb21aa -->

<div id='u8CA483D2ECCD22A-AC8-2581' class='aol_ad_footer'><FONT style="color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style="MARGIN-TOP: 10px">Supercharge your AIM. Get the <A title="http://download.aim.com/client/aimtoolbar?NCID=aolcmp00300000002586" href="http://download.aim.com/client/aimtoolbar?NCID=aolcmp00300000002586" target="_blank">AIM toolbar</A> for your browser.</FONT> </div>

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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 16:22:25 2008
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From: Matthias Grob <matilists@atarde.com.br>
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Subject: Re: EDP+ schematics?
Date: Thu, 28 Feb 2008 13:21:59 -0300
References: <bQR64b02.1204144142.8700270.magnus@bcbnet.dk>
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here is the essence:
http://matthias.grob.org/pEE/EDP_service_docs.zip


I just realize that I did answer your previous mail, but it did not  
make it to the list. I wrote:

if nothing makes it reboot, once its working, then it hardly can be a  
bad contact.

what kind of RAM do you use: 2, 3, 8 or 9 chips (ICs) / SIMM?
If its 8 or 9, try to to start it up with only 2 SIMMs in place (the  
ones next to the EPROMs, otherwise it never boots ;-)

another possibility:
At startup it switches from one crystal to the other and if their  
frequencies are too far apart, it crashes.

and there are many other possible hardware, mostly tolerance problems...

Matthias

On 27 Feb 2008, at 17:29, Magnus S. Hannibal wrote:

> Hi,
>
> Anyone know if its possible to find a schematic of the EDP+ anywhere?
> I have this annoying problem with my EDP+ sometimes refusing to boot  
> up.
> Its a random failure which is the worst kind of thing to diagnose.
> Please if anyone have information, tricks or any kind of help, please
> contact me.
> Read my old message underneath for details of the problem.
>
> Best regards,
> Magnus
>
> Hello,
>
> My EDP+ has a problem. Sometimes it refuses to boot correctly. It will
> light up in some of the leds and on the screen, but very briefly, and
> then it's blacked out. It is unpredictable but it seems like it  
> happens
> more often when the unit has been on for some hours. Also, when it  
> does
> black out, I can hear that there is still current in the electrical
> circuit.
>
> I should say that it is only during boot-up this happens, and only
> sometimes. If my unit boots up correctly, it is functioning as normal
> and stays on.
>
> I searched through the archive and someone suggested re-seating the  
> ROMs.
> Does this mean actually taking out the ROM chips (not sure exactly  
> which
> ones they are) and putting them back in again?
> I've checked all the SIMMs and made sure everything is in place. And
> I've reset the EDP+, but none of this have helped.
>
> Any suggestions?
>
> All the best from,
> Magnus
>

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 16:44:17 2008
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Date: Thu, 28 Feb 2008 08:44:11 -0800
From: highhorse@mhorse.com
To: Loopers-Delight@loopers-delight.com
Subject: Upwards pitch shift (Was Re: qualities of reverb OT)
References: <700890.53020.qm@web38613.mail.mud.yahoo.com>
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I'm disappointed to hear this. One of the wishes I've never gotten =20
around to fulfilling is a good clean octave-up effect. I especially =20
like the Henry Kaiser/Nels Cline trick of shifting up an octave, then =20
rhythmically bypassing the effect. I don't know what Henry Kaiser =20
used, but I saw video of him doing it in the early 80's so I'm =20
guessing an Eventide. Nels uses one of the original Digitech Whammies, =20
which seems to track very well (and he plays so fast it'd be obvious =20
if there was a lag), but they're very pricey and bulky, so I was =20
hoping the microPOG would fit the bill. So is there actually some =20
delay in the octave up? And it's unusably flat...?

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com

>
> Generally the harmoniser type effects introduce too much delay to be
> good for basslines,
> only harmoniser I've heard that tracks without delay is in the new
> ElectroHarmonix stuff,
> the POG, microPOG and HOG, but thought the sound was a bit wierd, and
> the pitch up was so flat it was unusable.
> (it's not possible to do pitch shift up without some delay, but pitch
> down is possible)
>
> andy

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 16:48:40 2008
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Date: Thu, 28 Feb 2008 11:48:38 -0500 (EST)
From: bradm <bradmcmail@yahoo.ca>
Subject: Re: Memory Man with Hazari
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--- mizuho@aol.com wrote:
> Just picked up a Electro -Harmonix Stereo Memory Man
> with Hazari and have to say I am very impressed.
> Sounds great, gets VERY weird when tweaked and even
> has a little? room inside for modding.
> I think it will be a hit for them.
> A+

How easy is it to use as a (guitarist) looper, for a
beginner who's never played with loopers before? Do
you think it could work in a band situation, where a
guitar line could be looped and used under/behind the
rest of the band playing a song?

(I'm also currently in love with the phaser on my
Ibanez UE-400 and the analog delay on my UA-405, and
am wondering how close the Hazarai could get to those
kinds of sounds, if anybody knows.)

Aloha,
Brad


      Connect with friends from any web browser - no download required. Try the new Yahoo! Canada Messenger for the Web BETA at http://ca.messenger.yahoo.com/webmessengerpromo.php

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 17:12:30 2008
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Date: Thu, 28 Feb 2008 12:12:25 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: loopers-delight <Loopers-Delight@loopers-delight.com>
Subject: twisted looping
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Some new and not so new rather twisted looping.

http://www.thinginajar.com/bigtony/bleed.htm

Enjoy!

-- 
-==-=-=-
Tony

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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 17:31:41 2008
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 Its very easy to use.
It depends how good your time is.
It takes a good sense of rhythm but other than that its easy.

No phaser,but does have some mod delays.


 


 

-----Original Message-----
From: bradm <bradmcmail@yahoo.ca>
To: Loopers-Delight@loopers-delight.com
Sent: Thu, 28 Feb 2008 10:48 am
Subject: Re: Memory Man with Hazari










--- mizuho@aol.com wrote:
> Just picked up a Electro -Harmonix Stereo Memory Man
> with Hazari and have to say I am very impressed.
> Sounds great, gets VERY weird when tweaked and even
> has a little? room inside for modding.
> I think it will be a hit for them.
> A+

How easy is it to use as a (guitarist) looper, for a
beginner who's never played with loopers before? Do
you think it could work in a band situation, where a
guitar line could be looped and used under/behind the
rest of the band playing a song?

(I'm also currently in love with the phaser on my
Ibanez UE-400 and the analog delay on my UA-405, and
am wondering how close the Hazarai could get to those
kinds of sounds, if anybody knows.)

Aloha,
Brad


      Connect with friends from any web browser - no download required. Try the 
new Yahoo! Canada Messenger for the Web BETA at http://ca.messenger.yahoo.com/webmessengerpromo.php



 


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<div> <font face="Arial, Helvetica, sans-serif">Its very easy to use.<br>
It depends how good your time is.<br>
It takes a good sense of rhythm but other than that its easy.<br>
<br>
No phaser,but does have some mod delays.<br>
</font></div>

<div> <br>
</div>

<div> <br>
</div>
-----Original Message-----<br>
From: bradm &lt;bradmcmail@yahoo.ca&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Thu, 28 Feb 2008 10:48 am<br>
Subject: Re: Memory Man with Hazari<br>
<br>






<div id="AOLMsgPart_0_c55e95c4-6d5c-4f8e-a866-09a65958835e" style="margin: 0px; font-family: Tahoma,Verdana,Arial,Sans-Serif; font-size: 12px; color: rgb(0, 0, 0); background-color: rgb(255, 255, 255);">

<pre style="font-size: 9pt;"><tt>--- <a href="mailto:mizuho@aol.com">mizuho@aol.com</a> wrote:<br>
&gt; Just picked up a Electro -Harmonix Stereo Memory Man<br>
&gt; with Hazari and have to say I am very impressed.<br>
&gt; Sounds great, gets VERY weird when tweaked and even<br>
&gt; has a little? room inside for modding.<br>
&gt; I think it will be a hit for them.<br>
&gt; A+<br>
<br>
How easy is it to use as a (guitarist) looper, for a<br>
beginner who's never played with loopers before? Do<br>
you think it could work in a band situation, where a<br>
guitar line could be looped and used under/behind the<br>
rest of the band playing a song?<br>
<br>
(I'm also currently in love with the phaser on my<br>
Ibanez UE-400 and the analog delay on my UA-405, and<br>
am wondering how close the Hazarai could get to those<br>
kinds of sounds, if anybody knows.)<br>
<br>
Aloha,<br>
Brad<br>
<br>
<br>
      Connect with friends from any web browser - no download required. Try the <br>
new Yahoo! Canada Messenger for the Web BETA at <a href="http://ca.messenger.yahoo.com/webmessengerpromo.php" target="_blank">http://ca.messenger.yahoo.com/webmessengerpromo.php</a>
</tt></pre>
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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 17:49:30 2008
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From: doc rossi <docittern@gmail.com>
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Subject: a very basic question
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Hey,

I'm about to embark on a new project that will involve looping and, in  
the interests of time and productivity, I thought that rather than  
trying to learn a bunch of stuff that I might never use, or buying  
something useless, I'd ask the group for advice.  I've been a member  
of this group for about a week and I can see that this will all be old  
hat to you, so if you prefer not to clutter the group with this, just  
write to me off-list if you want to help.

I play an instrument called the cittern - you could think of it as a  
small 12-string acoustic guitar without the octave stringing. It is  
totally acoustic, so I would be using mics. I have a matched pair of  
Josephsons, but I was thinking of using a clip on. I could use a piezo  
if absolutely necessary, but this project is meant to sound as  
acoustic as possible.

Basically, there will be two types of arrangement - one loop that  
would function as an ostinato, and a gamelan type thing made up of  
small loops that I could add one at a time and then play over. Very  
basic stuff loop-wise.

The question is, what do I buy? At first I thought of a JamMan with  
maxed-out memory.  Then I was considering the RC-50 until I heard so  
many bad things about it. I think I would prefer to use my MacBook  
with the Edirol UA-700 interface because I'm very comforable with this  
setup, but I worry about using a laptop on stage - there's so much  
that could go wrong. I'm about to jump into SooperLooper, which I  
think would do the job on its own quite well, but before I make a big  
investment in learning, I'd like to hear what people think about these  
options - a small loop player versus a software-only laptop rig.

Thanks a lot,

Doc Rossi

http://cetrapublishing.com/artists/rossi/
http://www.myspace.com/docrossi
www.magnatune.com/artists/docrossi.html

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 17:57:08 2008
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From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Subject: AW: Memory Man with Hazari
Date: Thu, 28 Feb 2008 18:57:49 +0100
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The problem I see is that it doesn't use a "loop volume" control like most
other loopers, rather a "mix" control. That means if you turn the loop
volume up, your guitar playing gets softer and vice versa.

	Rainer 


>	beginner who's never played with loopers before? Do
>	you think it could work in a band situation, where a
>	guitar line could be looped and used under/behind the
>	rest of the band playing a song?

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 18:26:31 2008
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From: "Bill Edmondson" <edmondson5@comcast.net>
To: <Loopers-Delight@loopers-delight.com>
References: <605254.51334.qm@web33107.mail.mud.yahoo.com> <8CA4846D694EEE0-764-3DEB@WEBMAIL-MB21.sysops.aol.com>
Subject: RE: Memory Man with Hazari
Date: Thu, 28 Feb 2008 13:17:35 -0500
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I used to have one of these. craig anderton has a cool tip on how to get a
chorus effect riding over a long delay using the mod control on the memory
man (or any other delay with a mod control).

 

  _____  

From: mizuho@aol.com [mailto:mizuho@aol.com] 
Sent: Thursday, February 28, 2008 12:31 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Memory Man with Hazari

 

Its very easy to use.
It depends how good your time is.
It takes a good sense of rhythm but other than that its easy.

No phaser,but does have some mod delays.

 

 

-----Original Message-----
From: bradm <bradmcmail@yahoo.ca>
To: Loopers-Delight@loopers-delight.com
Sent: Thu, 28 Feb 2008 10:48 am
Subject: Re: Memory Man with Hazari

--- mizuho@aol.com wrote:






> Just picked up a Electro -Harmonix Stereo Memory Man






> with Hazari and have to say I am very impressed.






> Sounds great, gets VERY weird when tweaked and even






> has a little? room inside for modding.






> I think it will be a hit for them.






> A+













How easy is it to use as a (guitarist) looper, for a






beginner who's never played with loopers before? Do






you think it could work in a band situation, where a






guitar line could be looped and used under/behind the






rest of the band playing a song?













(I'm also currently in love with the phaser on my






Ibanez UE-400 and the analog delay on my UA-405, and






am wondering how close the Hazarai could get to those






kinds of sounds, if anybody knows.)













Aloha,






Brad




















      Connect with friends from any web browser - no download required. Try
the 






new Yahoo! Canada Messenger for the Web BETA at
http://ca.messenger.yahoo.com/webmessengerpromo.php
  _____  


Supercharge your AIM. Get the AIM
<http://download.aim.com/client/aimtoolbar?NCID=aolcmp00300000002586>
toolbar for your browser. 


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I used to have one of these. craig =
anderton
has a cool tip on how to get a chorus effect riding over a long delay =
using the
mod control on the memory man (or any other delay with a mod =
control).<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<div style=3D'border:none;border-left:solid blue 1.5pt;padding:0in 0in =
0in 4.0pt'>

<div>

<div class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><font =
size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>

<hr size=3D2 width=3D"100%" align=3Dcenter tabindex=3D-1>

</span></font></div>

<p class=3DMsoNormal><b><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font =
size=3D2
face=3DTahoma><span style=3D'font-size:10.0pt;font-family:Tahoma'> =
mizuho@aol.com
[mailto:mizuho@aol.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, February =
28, 2008
12:31 PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b>
Loopers-Delight@loopers-delight.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: Memory Man =
with
Hazari</span></font><o:p></o:p></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<div>

<p class=3DMsoNormal><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
font-family:Arial'>Its very easy to use.<br>
It depends how good your time is.<br>
It takes a good sense of rhythm but other than that its easy.<br>
<br>
No phaser,but does have some mod delays.</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

</div>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><font size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>-----Original
Message-----<br>
From: bradm &lt;bradmcmail@yahoo.ca&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Thu, 28 Feb 2008 10:48 am<br>
Subject: Re: Memory Man with Hazari<o:p></o:p></span></font></p>

<div id=3D"AOLMsgPart_0_c55e95c4-6d5c-4f8e-a866-09a65958835e"><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>--- <a =
href=3D"mailto:mizuho@aol.com">mizuho@aol.com</a> =
wrote:</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>&gt; Just picked up a Electro =
-Harmonix Stereo Memory Man</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>&gt; with Hazari and have to say =
I am very impressed.</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>&gt; Sounds great, gets VERY =
weird when tweaked and even</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>&gt; has a little? room inside =
for modding.</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>&gt; I think it will be a hit for =
them.</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>&gt; A+</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><font size=3D2 color=3Dblack face=3D"Courier =
New"><span
style=3D'font-size:10.0pt;color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>How easy is it to use as a =
(guitarist) looper, for a</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>beginner who's never played with =
loopers before? Do</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>you think it could work in a band =
situation, where a</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>guitar line could be looped and =
used under/behind the</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>rest of the band playing a =
song?</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><font size=3D2 color=3Dblack face=3D"Courier =
New"><span
style=3D'font-size:10.0pt;color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>(I'm also currently in love with =
the phaser on my</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>Ibanez UE-400 and the analog =
delay on my UA-405, and</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>am wondering how close the =
Hazarai could get to those</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>kinds of sounds, if anybody =
knows.)</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><font size=3D2 color=3Dblack face=3D"Courier =
New"><span
style=3D'font-size:10.0pt;color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>Aloha,</span></font></tt><font
color=3Dblack><span style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
face=3D"Courier New"><span
style=3D'font-size:10.0pt;color:black'>Brad</span></font></tt><font =
color=3Dblack><span
style=3D'color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><font size=3D2 color=3Dblack face=3D"Courier =
New"><span
style=3D'font-size:10.0pt;color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><font size=3D2 color=3Dblack face=3D"Courier =
New"><span
style=3D'font-size:10.0pt;color:black'><br>
<br>
<tt><font face=3D"Courier =
New"><o:p></o:p></font></tt></span></font></pre><pre
style=3D'background:white'><tt><font size=3D2 color=3Dblack =
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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 19:04:07 2008
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     As well as the 'big three', Lexicon, t.c.electronics, and Eventide, it might be worthwhile to
consider the Kurzweil series of FX processors.  Their high end KSP8 (2500 USD) as well as the two
pieces that use parts of the KSP8, the Rumour and the Mangler.  The Rumour is dedicated mostly to
Reverb, in all its convoluted forms (with some delay, chorus, and flange thrown in).  The Mangler,
like its name, is dedicated to more serious damage.  

     Every manufacturer will have their own 'fingerprint' on how their boxes affect your music.  I
bring up the Kurzweil mostly because I never hear people talk about it, the quality is VERY high,
and the price reasonable (400 USD street price).  Special to Kurzweil is their 'Laser Verb' which
is one very cool sound (available on both Rumour and Mangler).

     Even more attractive is their interface.  Not wanting to dis the Fireworx too much, when I
owned one for a year, I found the UI not very friendly.  The buttons required a harder press than
was comfortable for me, and the nested menus were a musician's nightmare/propellerhead's wet
dream.  Kurzweil on the other hand, and in direct contrast to their earlier keyboards (K2xxx
series), had an intuitive layout that was very easy to wrap one's head around.  They even offered
a 'simple mode' where only the first 4 possible variables appeared in EDIT mode.  This was user
selectable from the MASTER menu.  They chose this 'intuitive' approach to programming and UI in
general with the aforementioned FX boxes and the PC series of keyboards.  If Kurzweil were a
bigger player, this would force the other companies to update their UI as well...  Or we can at
least hope...

         Stephen













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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 19:39:49 2008
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Subject: Re: EDP+ schematics?
Date: Thu, 28 Feb 2008 20:39:30 +0100
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Hej all,

A big thank you to Phillip, Adam, Paul, Andy, Don and Matthias. I will
explain the problem and deliver the schematics to my tech. I've already
tried to re-seat the ROMs, but it seems that there might be some chips
hidden underneath the shiny metal caps (at least on this blackface
Gibson EDP+) that might need to be re-seated! Those are really difficult
to get to. But it should be possible by using a dremmel!

Matthias. I will try some of your suggestions.

Anyway, I'll definetely post back here when and if the problem gets
solved. It might take a little while though.

I really appreciate the help guys. What a cool place this is.

All the best,
Magnus

Den 28/2/2008, skrev "Matthias Grob" <matilists@atarde.com.br>:

>here is the essence:
>http://matthias.grob.org/pEE/EDP_service_docs.zip
>
>
>I just realize that I did answer your previous mail, but it did not
>make it to the list. I wrote:
>
>if nothing makes it reboot, once its working, then it hardly can be a
>bad contact.
>
>what kind of RAM do you use: 2, 3, 8 or 9 chips (ICs) / SIMM?
>If its 8 or 9, try to to start it up with only 2 SIMMs in place (the
>ones next to the EPROMs, otherwise it never boots ;-)
>
>another possibility:
>At startup it switches from one crystal to the other and if their
>frequencies are too far apart, it crashes.
>
>and there are many other possible hardware, mostly tolerance problems...
>
>Matthias
>
>On 27 Feb 2008, at 17:29, Magnus S. Hannibal wrote:
>
>> Hi,
>>
>> Anyone know if its possible to find a schematic of the EDP+ anywhere?
>> I have this annoying problem with my EDP+ sometimes refusing to boot
>> up.
>> Its a random failure which is the worst kind of thing to diagnose.
>> Please if anyone have information, tricks or any kind of help, please
>> contact me.
>> Read my old message underneath for details of the problem.
>>
>> Best regards,
>> Magnus
>>
>> Hello,
>>
>> My EDP+ has a problem. Sometimes it refuses to boot correctly. It will
>> light up in some of the leds and on the screen, but very briefly, and
>> then it's blacked out. It is unpredictable but it seems like it
>> happens
>> more often when the unit has been on for some hours. Also, when it
>> does
>> black out, I can hear that there is still current in the electrical
>> circuit.
>>
>> I should say that it is only during boot-up this happens, and only
>> sometimes. If my unit boots up correctly, it is functioning as normal
>> and stays on.
>>
>> I searched through the archive and someone suggested re-seating the
>> ROMs.
>> Does this mean actually taking out the ROM chips (not sure exactly
>> which
>> ones they are) and putting them back in again?
>> I've checked all the SIMMs and made sure everything is in place. And
>> I've reset the EDP+, but none of this have helped.
>>
>> Any suggestions?
>>
>> All the best from,
>> Magnus
>>
>
>

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 20:18:29 2008
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From: Paul Mimlitsch <pmimlitsch@mac.com>
Subject: Re: qualities of reverb
Date: Thu, 28 Feb 2008 13:23:02 -0700
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Pretty pricey but read great reviews about the "M7":

<< http://www.bricasti.com/ >>

anybody seen/ heard one?


- Paul
<< http://www.myspace.com/pmimlitsch >>

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 20:44:58 2008
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To: "Loopers Delight" <Loopers-Delight@loopers-delight.com>
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Subject: simple mode - was qualities of reverb
Date: Thu, 28 Feb 2008 21:44:49 +0100
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> They even offered a 'simple mode' where only the first 4 possible
variables appeared in EDIT mode.  They chose this 'intuitive' approach to
programming and UI in general 


wonderful. 

I've always been wondering why complex software programs such as, er, Cubase
or Logic don't come with a newbie mode which is dead simple and shows only a
handful of buttons, menus, and options - then after this, maybe a mode with
the most popular options, and then the full mode if needed.

This would make things so much easier for the novice user. Maybe I'm too
lazy but it has happened more than once that I gave up on new complex
software because I just didn't feel like wading through a telephone
directory sized manual and hundreds of menues before being able to use a
program. 

Michael www.michaelpeters.de



From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 21:08:24 2008
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Date: Thu, 28 Feb 2008 15:46:46 -0500
To: Loopers-Delight@loopers-delight.com
From: Charles Zwicky <cazwicky@earthlink.net>
Subject: Re: qualities of reverb
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Yes... it's quite nice for 'natural' sounding reverb, but not so 
great at blatently artificial (aka 'dreamy') reverbs...

>Pretty pricey but read great reviews about the "M7":
>
><< http://www.bricasti.com/ >>
>
>anybody seen/ heard one?
>
>
>- Paul
><< http://www.myspace.com/pmimlitsch >>


-- 
...
http://www.zmix.net

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Subject: Fwd: The California Guitar Trio with my good friend guitarist extraordinaire!!! Kevin Hiatt at Crosstown Station Feb. 29th(Fri) Kansas City
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Note: forwarded message attached.



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Date: Thu, 28 Feb 2008 10:33:44 -0800 (PST)
From: Kevin Hiatt <kevrayhiya@yahoo.com>
Reply-To: kevrayhiya@yahoo.com
Subject: The California Guitar Trio with Kevin Hiatt at Crosstown Station Feb. 29th(Fri)
To: tbzaber@sbcglobal.net, danielalbertini72@yahoo.com, oalmoghrabi@yahoo.com,
  afiedler@kcstage.com, joe_baehr@sbcglobal.net, mberry3@mindspring.co,
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The California Guitar Trio will perform at Crosstown Station (1522 Mcgee/816-471-1522)
   on Feb. 29th at 8:30 pm. Members of this group have performed with King Crimson founder Rober Fripp, and ex Gensis bassist Tony Levin. CGT performs instrumentals ranging from surf tunes to neo-impressionistic compositions involving extended improvisation. 
   
  website at: cgtrio.com
   
  Opening the show will be Kansas City's own Kevin Hiatt on 6,7,12 string guitars. 
  Since relocating back to Kansas City Hiatt has become a fixture in the acoustic music scene. His instrumentals and vocal songs draw on vintage Leo Kottke and MIchael Hedges influences as well as his own extensive academic composer background (DMA in Music Composition form the Univ. of Miami). 
   
  website at: kevinhiattmusic.com
   

       
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<DIV>The California Guitar Trio will perform at Crosstown Station (1522 Mcgee/816-471-1522)</DIV>  <DIV>&nbsp;on Feb. 29th at 8:30 pm. Members of this group have performed with King Crimson founder Rober Fripp, and ex Gensis bassist Tony Levin. CGT performs instrumentals ranging from surf tunes to neo-impressionistic compositions involving extended improvisation. </DIV>  <DIV>&nbsp;</DIV>  <DIV>website at: cgtrio.com</DIV>  <DIV>&nbsp;</DIV>  <DIV>Opening the show will be Kansas City's own Kevin Hiatt on 6,7,12 string guitars. </DIV>  <DIV>Since relocating back to Kansas City Hiatt has become a fixture in the acoustic music scene. His instrumentals and vocal songs draw on vintage Leo Kottke and MIchael Hedges influences as well as his own extensive academic composer background (DMA in Music Composition form the Univ. of Miami). </DIV>  <DIV>&nbsp;</DIV>  <DIV>website at: kevinhiattmusic.com</DIV>  <DIV>&nbsp;</DIV><p>&#32;
      <hr size=1>Be a better friend, newshound, and 
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From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 22:02:26 2008
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Subject: Re: All kinds of qualities of reverb
Date: Thu, 28 Feb 2008 22:02:21 -0000
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Interesting topic. I've got a t.c. M-One-XL but actually my old Zoom 9120 
gives some of my favourite reverbs still after all these years.

One another note (pardon the pun), has anyone tried a software reverb called 
the "Pianoverb", my son has used it and it sounds jjust like me playing my 
saxophone close up to the piano with the covers off - those wonderful 
resonances picked out with the notes.

Ian.

----- Original Message ----- 
From: "Rainer Thelonius Balthasar Straschill" <rs@moinlabs.de>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, February 28, 2008 3:12 PM
Subject: AW: qualities of reverb


> about the reverb thing:
>
> Good algorithms are also the Eventide detune plex or diffchorus in
> combination with reverb algorithms.
>
>> reverb, but the principle is similar. The Waves reverb isn't
>> half bad for mastering. For my laptop rig, I use a Max/msp
>> reverb. It is a very difficult object to create.
>
> Normally, (pre-)mastering is not the processing stage to add reverb.
>
>
> 



From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 22:19:02 2008
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Subject: Re: Memory Man with Hazari
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bradm wrote:
> --- mizuho@aol.com wrote:
>> Just picked up a Electro -Harmonix Stereo Memory Man
>> with Hazari and have to say I am very impressed.
>> Sounds great, gets VERY weird when tweaked and even
>> has a little? room inside for modding.
>> I think it will be a hit for them.
>> A+
> 
> How easy is it to use as a (guitarist) looper, for a
> beginner who's never played with loopers before? 

It's harder to get accurately timed loops.
Most units you tap once to start recording the loop,
and again to end the loop (and start playback)
With the SMM you have to hold down the button for the length of the loop,
then release it accurately at the end.

It's quite involved to wipe a loop and record a new one.

...but for the low price, you could find out if you like looping.


>Do
> you think it could work in a band situation, 

yes,
especially the instant reverse feature.

>where a
> guitar line could be looped and used under/behind the
> rest of the band playing a song?

if you really believe you need a rhythm guitar under your solo
then the problem is not the looper.
The problem is the the band has to play in time with your loop.

  

> 
> (I'm also currently in love with the phaser on my
> Ibanez UE-400 and the analog delay on my UA-405, and
> am wondering how close the Hazarai could get to those
> kinds of sounds, if anybody knows.)

you can make big swooshy phase/flange sounds with the SMM if you know how.

It can also do analog delay type sounds (using the filter to make the repeats get darker).

Don't know how the Ibanez sounds tho'.

andy butler

> 
> Aloha,
> Brad
> 
> 
>       Connect with friends from any web browser - no download required. Try the new Yahoo! Canada Messenger for the Web BETA at http://ca.messenger.yahoo.com/webmessengerpromo.php
> 
> 

From Loopers-Delight-request@loopers-delight.com  Thu Feb 28 23:01:38 2008
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Date: Thu, 28 Feb 2008 15:01:37 -0800 (PST)
From: Thomas Wegmann <theweg@verizon.net>
Subject: Re: Fwd: The California Guitar Trio with my good friend guitarist extraordinaire!!! Kevin Hiatt at Crosstown Station Feb. 29th(Fri) Kansas City
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Hello all,
  This is cool!  The CGT will be here in Charleston,
West Virginia on March 13th at the WV Cultural Center.
We (LiveMix Studio) are going to video the show for
them, a friend of mine setup the show.  Bert Lams came
in last Sept. and opened the studio with Tom
Griesgraber who I believe was once on this list.   Tom
is a stick player and Bert played one of his
Breedloves.  It was a great show.  I am looking
forward to meeting the rest of the group as I saw
their last show in Char.  
If any of my fellow loopers are passing through West
Virginia give me a shout and we'll try and line up a
show!

Peace,
Weg
--- Dan <danielalbertini72@yahoo.com> wrote:

> Note: forwarded message attached.
> 
> 
> 
>      
>
____________________________________________________________________________________
> Be a better friend, newshound, and 
> know-it-all with Yahoo! Mobile.  Try it now. 
>
http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
> 
> > Date: Thu, 28 Feb 2008 10:33:44 -0800 (PST)
> From: Kevin Hiatt <kevrayhiya@yahoo.com>
> Subject: The California Guitar Trio with Kevin Hiatt
> at Crosstown Station Feb. 29th(Fri)
> To: tbzaber@sbcglobal.net,
> danielalbertini72@yahoo.com, oalmoghrabi@yahoo.com,
>   afiedler@kcstage.com, joe_baehr@sbcglobal.net,
> mberry3@mindspring.co,
>   prb@att.net, booking@therecordbar.com,
> blaqlily@earthlink.ne,
>   beau@beaubledsoe.com, bobby@visualinspiration.org
> 
> The California Guitar Trio will perform at Crosstown
> Station (1522 Mcgee/816-471-1522)
>    on Feb. 29th at 8:30 pm. Members of this group
> have performed with King Crimson founder Rober
> Fripp, and ex Gensis bassist Tony Levin. CGT
> performs instrumentals ranging from surf tunes to
> neo-impressionistic compositions involving extended
> improvisation. 
>    
>   website at: cgtrio.com
>    
>   Opening the show will be Kansas City's own Kevin
> Hiatt on 6,7,12 string guitars. 
>   Since relocating back to Kansas City Hiatt has
> become a fixture in the acoustic music scene. His
> instrumentals and vocal songs draw on vintage Leo
> Kottke and MIchael Hedges influences as well as his
> own extensive academic composer background (DMA in
> Music Composition form the Univ. of Miami). 
>    
>   website at: kevinhiattmusic.com
>    
> 
>        
> ---------------------------------
> Be a better friend, newshound, and know-it-all with
> Yahoo! Mobile.  Try it now.


My URL
http://www.myspace.com/noyestheater

My Blog URL
http://blog.myspace.com/noyestheater

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 00:38:33 2008
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Hey, Sjaak, this is a great page, how did you find out about this stuff?

The Sound Mode is fantastic, in particular!  I'm going to try this as
soon as I get a few moments with the RC-50 again -- I _have_ to do it
before Monday's show.

Drop in if you are ever in the area...


On Wed, Feb 27, 2008 at 3:26 PM, Sjaak <tcplugin@scarlet.be> wrote:
> Although I'm not a "rebel" type of guy , this is my contribution of our mutual friend and enemy, the RC-50 ;) Scroll down to the RC-50 section on the page below, it also contains tips and workarounds for several issues.
>
>  http://home.scarlet.be/gare-d-anvers/sjaak/livelooping.htm
>
>  Regards,
>  Sjaak
>  ---
>  Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
>  http://www.scarlet.be/
>
>



-- 
 /t

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From: "Tom Ritchford" <tom@swirly.com>
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I think the website will be really easy to pull off.  I just need to
get a time in front of the camera, or someone else needs to deliver a
movie, for the ball to be rolling.

Making the website itself, registering, hosting, that's like an hour of my time.

I have a theory that once we get a few movies, other people will chime
in.  Or at least, we'll have a few moves.

On Wed, Feb 27, 2008 at 9:15 AM, Teddy Kumpel <teddybut@mac.com> wrote:
>  I'm down with this Tom... the RC-50, while my main looper at this point, is
> really annoying because of the glitches, midi sync and time stretching.
>
> which do you think would be more effective, a class action letter from a
> lawyer or the website? or both have to happen?
> The suit is a good idea because, after all, their own marketing blurbs tout
> all those features as key reasons why to buy the thing.
>
> teddy k
>
>
>
>
> On Feb 26, 2008, at 2:01 PM, Tom Ritchford wrote:
>
>
> On Tue, Feb 26, 2008 at 4:34 AM, doc rossi <docittern@gmail.com> wrote:
> >
> > On Feb 26, 2008, at 9:24 AM, Tom Ritchford wrote:
> >
> > > If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND YOU
> >
> > > WON'T FIX THEM" then it will be bad PR for them.  at least we get to
> > > cost them some $$$....  because if people really believe "they make
> > > crappy products they won't support" then they won't buy them!
> >
> > I appreciate the idea, but I'm not sure they are worried about PR -
>
> There isn't a company in the world that sells to consumers that isn't
> worried about PR.  I mean, they care enough to put out their own magazine.
>
> Believe you me, this is the sort of conversation that companies are
> terrified of:
>
> "I'm going to get a Roland xxx"
> "Oh, my friend had endless trouble with Roland's yyy -- don't do it."
>
> Whole companies have collapsed based on that sort of thing.
>
> If you read the explanation from tech support, it's really dishonest.  They
> don't want to fix their old products because they're busy making new
> products.  In other words, it's a massive con to get your money with
> products that don't work, and they'll never fix.
>
> So.  I'll set up the domain, and make some movies.  My movies probably won't
> come for a week, as even though I have a nice camera, it stays near the
> gig....  so get on your movies.
>
>
> I'm also realizing that it might be fun to sue them in small claims court...
> as it isn't very time-consuming for me, and they probably won't show up to
> contest it.
>
> I have a particular hatred of being ripped off by large corporations because
> you know they're doing it to thousands of others.



-- 
 /t

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On Wed, Feb 27, 2008 at 3:34 PM, Stuart Masters
<stuartmasterz@yahoo.co.uk> wrote:
> Thanks, Sjaak, I'll check that out.
>
> I also agree about looking at what the RC50 was intended for... if you
> preload it with tracks, it's unbeatable. I heard of a Flamenco style
> guitarist who used it to duel with himself, using preloaded tracks

Yes, I'm sure you're right about this too -- it's extremely tempting
just to load up a bunch of stereo loop samples and go.  But I really
do like that "live aesthetic" -- I bristle when people say I DJ when
in fact it's all played live.

Still, it should at least do the basic functions it offers correctly.

BTW, the timefactor arrived -- not sure how soon I'll get to check it
out.  I really love those Eventide pitch shifts...

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Date: Thu, 28 Feb 2008 18:27:02 -0800 (PST)
From: Howard Alan Treesong <howardalantreesongs@yahoo.com>
Subject: Re: multi effects unit
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Using an  eclipse, fireworx, etc. with an Akira, et al would be like getting bored screwing Giselle Bundchen and needing an interlude with an Albanian midget.

Erdem Helvacioglu <erdemhel@tnn.net> wrote:          Hi,
   
  Besides my "acoustic guitar and live electronics" with audiomulch setup, I began to work with a laptopless setup for electric guitar. For this setup, I use tc electronic fireworx, eventide eclipse, lexicon mpx100 as hardware multi effects processor. I was wondering if any of you could recommend other multi effects processor with very wild effects.
   
  Thanks and best regards.
   
  Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Altered Realities" album is out on New Albion Records:
chosen as"Album of the year 2007" by All About Jazz Magazine
www.newalbion.com/NA131
www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=8-1/qid=1161162264/ref=pd_bbs_sr_1/002-0939524-3125629?ie=UTF8


       
---------------------------------
Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
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Using&nbsp;an &nbsp;eclipse, fireworx, etc. with an Akira, et al would be like getting bored screwing Giselle Bundchen and needing an interlude with an Albanian midget.<BR><BR><B><I>Erdem Helvacioglu &lt;erdemhel@tnn.net&gt;</I></B> wrote:  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">  <META content="MSHTML 6.00.2900.3199" name=GENERATOR>  <STYLE></STYLE>    <DIV>Hi,</DIV>  <DIV>&nbsp;</DIV>  <DIV>Besides my "acoustic guitar and live electronics" with audiomulch setup, I began to work with a laptopless setup for electric guitar. For this setup, I use tc electronic fireworx, eventide eclipse, lexicon mpx100&nbsp;as hardware multi effects processor. I was wondering if any of you could recommend other multi effects processor with very wild effects.</DIV>  <DIV>&nbsp;</DIV>  <DIV>Thanks and best regards.</DIV>  <DIV>&nbsp;</DIV>  <DIV>Erdem Helvacioglu<BR><A
 href="http://www.erdemhelvacioglu.com/">www.erdemhelvacioglu.com</A><BR><A href="http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhelvacioglu</A><BR>* * * * * * * * * * * * * * * * * * * *<BR>"Altered Realities" album is out on New Albion Records:<BR>chosen as"Album of the year 2007" by All About Jazz Magazine<BR><A href="http://www.newalbion.com/NA131">www.newalbion.com/NA131</A><BR><A href="http://www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=8-1/qid=1161162264/ref=pd_bbs_sr_1/002-0939524-3125629?ie=UTF8">www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=8-1/qid=1161162264/ref=pd_bbs_sr_1/002-0939524-3125629?ie=UTF8</A></DIV></BLOCKQUOTE><BR><p>&#32;
      <hr size=1>Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile. <a href="http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ "> Try it now.</a>
--0-24894310-1204252022=:8310--

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please ignore.  i'm just replying here to see if i can get through to the LD
list AT ALL.

damned thing :angry:

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please ignore.&nbsp; i&#39;m just replying here to see if i can get through to the LD list AT ALL.<br><br>damned thing :angry:<br>

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From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 04:55:49 2008
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I can't begin to think of another effects unit that would cover
anything you don't already have.  The Eclipse actually has some really
very good distortion, the TC electronic has a good reputation, the
Lexicon should cover a lot of the simple utilities (like delays).

I'll bet you can get everything you need just by reprogramming what you have!

Or if you wanted more, I'd dump the analog units and just go entirely computer.

On Tue, Feb 26, 2008 at 9:06 AM, Erdem Helvacioglu <erdemhel@tnn.net> wrote:
>
>
> Hi,
>
> Besides my "acoustic guitar and live electronics" with audiomulch setup, I
> began to work with a laptopless setup for electric guitar. For this setup, I
> use tc electronic fireworx, eventide eclipse, lexicon mpx100 as hardware
> multi effects processor. I was wondering if any of you could recommend other
> multi effects processor with very wild effects.
>
> Thanks and best regards.
>
> Erdem Helvacioglu
> www.erdemhelvacioglu.com
> www.myspace.com/erdemhelvacioglu
> * * * * * * * * * * * * * * * * * * * *
> "Altered Realities" album is out on New Albion Records:
> chosen as"Album of the year 2007" by All About Jazz Magazine
> www.newalbion.com/NA131
> www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=8-1/qid=1161162264/ref=pd_bbs_sr_1/002-0939524-3125629?ie=UTF8



-- 
 /t

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 07:04:54 2008
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From: David Coffin <dpcoffin@earthlink.net>
Subject: Re: multi effects unit
Date: Thu, 28 Feb 2008 22:58:25 -0800
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Just heard another interesting rack-mount guitar FX unit: AXE FX

http://www.fractalaudio.com/sounds.html

more audio demos here:
http://www.axechange.net/

I must admit, tho, that it=92s hard to imagine you can=92t already do =20=

everything this thing does and much more with the rack units you =20
already have.
I=92ll echo Krispen, who I believe already advised you to check out =20
Reaktor, running on a Receptor if you want rackable hardware. I=92ve =20
owned all the rack units you=92re currently using, and for =93very =
wild,=94 =20
none of them can touch Reaktor.

dc

> On Tue, Feb 26, 2008 at 9:06 AM, Erdem Helvacioglu =20
> <erdemhel@tnn.net> wrote:
>>
>>
>> Hi,
>>
>> Besides my "acoustic guitar and live electronics" with audiomulch =20
>> setup, I
>> began to work with a laptopless setup for electric guitar. For =20
>> this setup, I
>> use tc electronic fireworx, eventide eclipse, lexicon mpx100 as =20
>> hardware
>> multi effects processor. I was wondering if any of you could =20
>> recommend other
>> multi effects processor with very wild effects.
>>
>> Thanks and best regards.

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 07:12:10 2008
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Date: Thu, 28 Feb 2008 23:12:08 -0800 (PST)
From: K D Patten <kdpatten@yahoo.com>
Subject: Lurker surfacing with  Boomerang head ache
To: loopers-delight@loopers-delight.com
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I know you guys have probably dealt with this issue before but...how do you set a boomerang to limit the background hiss?..I've tried putting an old rocktron micro hush between the rang & the board ...the hiss is gone ..but total tone suck.....any input?...thanks...kyle


Kyle Dean PattenP.O. Box 22Johnston, IA  50131 http://www.cdbaby.com/cd/kdpatten

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I know you guys have probably dealt with this issue before but...how do you set a boomerang to limit the background hiss?..I've tried putting an old rocktron micro hush between the rang &amp; the board ...the hiss is gone ..but total tone suck.....any input?...thanks...kyle<br><BR><BR><DIV>
<ADDRESS><FONT color=#bf00bf size=4>Kyle Dean Patten</FONT></ADDRESS>
<ADDRESS>P.O. Box 22</ADDRESS>
<ADDRESS>Johnston, IA&nbsp; 50131</ADDRESS>
<ADDRESS>&nbsp;</ADDRESS>
<ADDRESS><A href="http://www.cdbaby.com/cd/kdpatten">http://www.cdbaby.com/cd/kdpatten</A></ADDRESS></DIV>
--0-474424079-1204269128=:13595--

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Rainer wrote:
" My secret "bang for the buck surreal reverb" weapon ist the Zoom 1201. At 
used prices around ?25, you can't go wrong..."



I loved the Zoom 1201.   At one point,  I covered the front plate with 
really shiny Rave metallic paper so that I could not
see the dials.     It became my 'mystery' machine..................just 
randomly dial in a sound without knowing what it
was officially.

Terrible reverbs but it has one bank of wonderful weird...........and I 
concurr with Andy about how cool the pitch shifter is in the thing.

Also,  up there with the early ART digital reverbs for gaudiest and most 
tastless front graphics (hence my Rave covering).


From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 07:26:17 2008
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From: "Rick Walker" <looppool@cruzio.com>
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Subject: RE: qualities of reverb
Date: Thu, 28 Feb 2008 23:24:20 -0800
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Duncan Goddard mentioned a trick with his trusty microverb:

Which reminded me:

The Alesis Midverb 2 had an infinite reverb in it that was just amazing. 
(patch #32 if memory serves)

Eventually I had to upgrade my reverbs (with more Alesis and finally 
Lexicons)
but I have never heard an infinite reverb setting that was so musical as 
that
old archaic unit.   One of my favorite tricks when I was first doing lop

The rest of the verbs were pretty pathetic, unfortuanately and the Alesis 
gear
just doesn't seem to last very long. 

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Date: Thu, 28 Feb 2008 23:29:49 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
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I've gotten a lot of use out of the Alesis Wedge, which was great because it
had those four soft faders and the big display, plus tap tempo.
Unfortunately, all of that required front panel real estate which made it a
table-top unit instead of rackmountable, so taking it out on gigs was a
hassle, but it sounded great.

On Thu, Feb 28, 2008 at 11:24 PM, Rick Walker <looppool@cruzio.com> wrote:

> Duncan Goddard mentioned a trick with his trusty microverb:
>
> Which reminded me:
>
> The Alesis Midverb 2 had an infinite reverb in it that was just amazing.
> (patch #32 if memory serves)
>
>
>

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I&#39;ve gotten a lot of use out of the Alesis Wedge, which was great because it had those four soft faders and the big display, plus tap tempo.&nbsp; Unfortunately, all of that required front panel real estate which made it a table-top unit instead of rackmountable, so taking it out on gigs was a hassle, but it sounded great.<br>
<br><div class="gmail_quote">On Thu, Feb 28, 2008 at 11:24 PM, Rick Walker &lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt; wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Duncan Goddard mentioned a trick with his trusty microverb:<br>
<br>
Which reminded me:<br>
<br>
The Alesis Midverb 2 had an infinite reverb in it that was just amazing.<br>
(patch #32 if memory serves)<br>
<br><br></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 08:24:37 2008
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Tom Ritchford wrote:

>> I also agree about looking at what the RC50 was intended for... if you
>> preload it with tracks, it's unbeatable. I heard of a Flamenco style
>> guitarist who used it to duel with himself, using preloaded tracks
> 
> Yes, I'm sure you're right about this too -- it's extremely tempting
> just to load up a bunch of stereo loop samples and go.  But I really
> do like that "live aesthetic" -- I bristle when people say I DJ when
> in fact it's all played live.

the following statement by Roland (on the RC-50 page):-
"Itâ€™s the best live looping tool ever built for that matter."

andy butler-

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 09:11:28 2008
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Date: Fri, 29 Feb 2008 01:11:27 -0800 (PST)
From: "L.A. Angulo" <labaloops@yahoo.com>
Subject: Re: simple mode - was qualities of reverb
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Yes Michael i feel the same,i guess simple is
difficult to create!
Luis


> 
> wonderful. 
> 
> I've always been wondering why complex software
> programs such as, er, Cubase
> or Logic don't come with a newbie mode which is dead
> simple and shows only a
> handful of buttons, menus, and options - then after
> this, maybe a mode with
> the most popular options, and then the full mode if
> needed.
> 
> This would make things so much easier for the novice
> user. Maybe I'm too
> lazy but it has happened more than once that I gave
> up on new complex
> software because I just didn't feel like wading
> through a telephone
> directory sized manual and hundreds of menues before
> being able to use a
> program. 
> 
> Michael www.michaelpeters.de
> 
> 
> 
> 


www.myspace.com/luisangulocom


      ____________________________________________________________________________________
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From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 09:48:25 2008
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Date: Fri, 29 Feb 2008 09:48:23 +0000 (GMT)
From: Stuart Masters <stuartmasterz@yahoo.co.uk>
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Ok, maybe I'm being really stupid here. Is it possible to avoid the loop playback glitch entirely if you select 'sound priority mode'?
   
  I downloaded the update and because it had almost solved the problem, I assumed that was the fix - I didn't realise you had to perform a function first to get it to work. 
   
  The midi sync isn't a problem for me so maybe it is better than I thought.
   
  

Sjaak <tcplugin@scarlet.be> wrote:
  Although I'm not a "rebel" type of guy , this is my contribution of our mutual friend and enemy, the RC-50 ;) Scroll down to the RC-50 section on the page below, it also contains tips and workarounds for several issues.

http://home.scarlet.be/gare-d-anvers/sjaak/livelooping.htm

Regards,
Sjaak
---
Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
http://www.scarlet.be/



       
---------------------------------
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<div>Ok, maybe I'm being really stupid here. Is it possible to avoid the loop playback glitch entirely if you select 'sound priority mode'?</div>  <div>&nbsp;</div>  <div>I downloaded the update and because it had <EM>almost</EM> solved the problem, I assumed that was the fix - I didn't realise you had to perform a function first to get it to work. </div>  <div>&nbsp;</div>  <div>The midi sync isn't a problem for me so maybe it is better than I thought.</div>  <div>&nbsp;</div>  <div><BR><BR><B><I>Sjaak &lt;tcplugin@scarlet.be&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">Although I'm not a "rebel" type of guy , this is my contribution of our mutual friend and enemy, the RC-50 ;) Scroll down to the RC-50 section on the page below, it also contains tips and workarounds for several issues.<BR><BR>http://home.scarlet.be/gare-d-anvers/sjaak/livelooping.htm<BR><BR>Regards,<BR>Sjaak<BR>---<BR>Scarlet
 One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...<BR>http://www.scarlet.be/<BR><BR></BLOCKQUOTE><BR><p>&#32;
      <hr size=1> 
Rise to the challenge for Sport Relief with <a href="http://us.rd.yahoo.com/mailuk/taglines/isp/control/*http://us.rd.yahoo.com/evt=51947/*http://uk.promotions.yahoo.com/forgood/">Yahoo! for Good</a>
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Stuart Masters wrote:
> Ok, maybe I'm being really stupid here. Is it possible to avoid the loo=
p playback glitch entirely if you select 'sound priority mode'?

Yes. With the "sound priority" mode, you decide the start and end points =
of the loop, not the RC-50. That's the different with the 1.00 version. B=
ut keep in mind the RC-50 switches back to the old behaviour if you set t=
he rhythm guide on, so make sure it's OFF.
    
>   I downloaded the update and because it had almost solved the problem,=
 I assumed that was the fix - I didn't realise you had to perform a funct=
ion first to get it to work. 

Yep. See the 1.01 OS release notes for all the details or check my websit=
e on how the set the default startup mode of the RC-50

Sjaak=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0A=
http://www.scarlet.be/

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Thanks, Sjaak, that's great. I've gone and sold mine now :-( I might have to get another. I can't believe I missed that. 
   
  Perhaps it's not so bad after all. 
   
  Out of interest, is anyone else holding their breath for the Boomerang 3 in favour of the RC-50? I know it's not available yet but it's supposed to be within two months I think.
   
  

Sjaak <tcplugin@scarlet.be> wrote:
  Stuart Masters wrote:
> Ok, maybe I'm being really stupid here. Is it possible to avoid the loop playback glitch entirely if you select 'sound priority mode'?

Yes. With the "sound priority" mode, you decide the start and end points of the loop, not the RC-50. That's the different with the 1.00 version. But keep in mind the RC-50 switches back to the old behaviour if you set the rhythm guide on, so make sure it's OFF.

> I downloaded the update and because it had almost solved the problem, I assumed that was the fix - I didn't realise you had to perform a function first to get it to work.

Yep. See the 1.01 OS release notes for all the details or check my website on how the set the default startup mode of the RC-50

Sjaak
---
Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
http://www.scarlet.be/



       
---------------------------------
 Rise to the challenge for Sport Relief with Yahoo! for Good
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<div>Thanks, Sjaak, that's great. I've gone and sold mine now :-( I might have to&nbsp;get&nbsp;another. I can't believe I missed that. </div>  <div>&nbsp;</div>  <div>Perhaps it's not so bad after all. </div>  <div>&nbsp;</div>  <div>Out of interest, is anyone else holding their breath for the Boomerang 3 in favour of the RC-50? I know it's not available yet but it's supposed to be within two months I think.</div>  <div>&nbsp;</div>  <div><BR><BR><B><I>Sjaak &lt;tcplugin@scarlet.be&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">Stuart Masters wrote:<BR>&gt; Ok, maybe I'm being really stupid here. Is it possible to avoid the loop playback glitch entirely if you select 'sound priority mode'?<BR><BR>Yes. With the "sound priority" mode, you decide the start and end points of the loop, not the RC-50. That's the different with the 1.00 version. But keep in mind the RC-50 switches back to the old
 behaviour if you set the rhythm guide on, so make sure it's OFF.<BR><BR>&gt; I downloaded the update and because it had almost solved the problem, I assumed that was the fix - I didn't realise you had to perform a function first to get it to work.<BR><BR>Yep. See the 1.01 OS release notes for all the details or check my website on how the set the default startup mode of the RC-50<BR><BR>Sjaak<BR>---<BR>Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...<BR>http://www.scarlet.be/<BR><BR></BLOCKQUOTE><BR><p>&#32;
      <hr size=1> 
Rise to the challenge for Sport Relief with <a href="http://us.rd.yahoo.com/mailuk/taglines/isp/control/*http://us.rd.yahoo.com/evt=51947/*http://uk.promotions.yahoo.com/forgood/">Yahoo! for Good</a>
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From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 11:00:25 2008
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>  > I've always been wondering why complex software
>  > programs such as, er, Cubase
>  > or Logic don't come with a newbie mode which is dead
>  > simple and shows only a
>  > handful of buttons, menus, and options - then after
>  > this, maybe a mode with
>  > the most popular options, and then the full mode if
>  > needed.
>  > Michael www.michaelpeters.de


Regarding Logic the answer is that Logic doesn't need a certain
"newbie mode" since any user already has Garageband, that comes
bundled with Apple PC's today. Garage band is extremely
newbie-friendly and a song started in Garageband can be imported into
Logic any time later.

With version 8.0 Logic changed quite a lot in order to make it more
newbie-friendly. This was at the cost of the formerly exceptional
options of customizing it for a small screen.

Cubase has nothing as Garageband, but on the other hand I have noticed
that not much had changed in SX3 compared to the Cubase version I was
using in 1989! That doesn't make it easier for a newcomer, but at
least you know that when you have learned it you won't have to
re-learn it again ;-)

Genereally I agree with Michael, that software should be dirt simple
to use - at least for us musicians that try to also be "a producer" at
the same time as we play. That is, if we are not happy to work with a
partner that takes care of producing the recording of what we do as
musical performance. I do a lot of producing in Logic but I totally
leave Logic out of the picture when I play music in order to be
creative and record my work. My favorite recording application is
Bidule. It has a simple "File Recorder Module". After you have started
that module it stays in the background and creates eight stereo files
on the hard drive from whatever I may create in Mobius eight looper
tracks and effect patches I might play. Dirt easy! The most difficult
thing is to remember that your noise is being recorded and that you
have to turn off the recorder when you have stopped playing. Step two
is to stop being "a musician" and start being "a producer"; then I
open the multiple files in Logic and produce a mix in the classic
multi track tradition.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 11:33:53 2008
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> Genereally I agree with Michael, that software should be dirt 
> simple to use - at least for us musicians that try to also be 

I care to disagree here. Cubase and Logic are both immensely powerful
specialist tools, and just like a surgeon's scalpel or a master violinist's
Guaneri, not meant to be handled by just about any kiddie or retired bore
who says "I want to be a record producer/surgeon/musician today". For those
people, there are the Guitar Hero games, and software products like Music
Maker. If Cubase if to complicated for you, then don't use it.

	Rainer (using Cubase since it first came out for PCs)

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> > Genereally I agree with Michael, that software should be dirt
>  > simple to use - at least for us musicians that try to also be

On Fri, Feb 29, 2008 at 12:34 PM, Rainer Thelonius Balthasar
Straschill <rs@moinlabs.de> wrote:
>  I care to disagree here. Cubase and Logic are both immensely powerful
>  specialist tools, and just like a surgeon's scalpel or a master violinist's
>  Guaneri, not meant to be handled by just about any kiddie or retired bore
>  who says "I want to be a record producer/surgeon/musician today". For those
>  people, there are the Guitar Hero games, and software products like Music
>  Maker. If Cubase if to complicated for you, then don't use it.
>
>         Rainer (using Cubase since it first came out for PCs)


I agree with every word you're saying above. But you didn't read my
post all the way ;-)  What I was saying is that mastering musical
performance and mastering the art of capturing that, and producing a
good recording of it, both relies on super sharp surgery tools and
quite often it is too much for one person to handle both these
advanced tool sets at the same time.

I use to get hired to educate students as well as professional
producers on how to make the best use of the production tools provided
in Logic but never the less I prefer a simple
"press-record-and-forget-about-it" approach when I'm recording myself
as being the performer. This is not at all about technology, it's an
appropriate human strategy for catching a bit more of those fragile
moments that we call "truly inspired music".

My recommendation to Michael, and others, is to use simpler recording
tools for starters, just making sure the input stage is top quality
(mic, AD conversion). After the recording is safely done you have all
the time in the world to work on it with whatever super sharp surgeon
tools you may like. It's not as back in the days of four track
cassette decks versus Studer or Otari half inch multi trackers, it's
not like you're getting worse fidelity with a simpler setup. So why
not take advance of the dirt cheap recording process and make some
magic?

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 12:43:35 2008
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Subject: Re: Let's complain to Roland en masse! (was Re: Boss RC50 delay issues)
Date: Fri, 29 Feb 2008 07:43:30 -0500
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Why not just use YouTube? Perspective buyers are always searching for  
gear on there.
On Feb 28, 2008, at 7:58 PM, Tom Ritchford wrote:

> I think the website will be really easy to pull off.  I just need to
> get a time in front of the camera, or someone else needs to deliver a
> movie, for the ball to be rolling.
>
> Making the website itself, registering, hosting, that's like an hour  
> of my time.
>
> I have a theory that once we get a few movies, other people will chime
> in.  Or at least, we'll have a few moves.
>
> On Wed, Feb 27, 2008 at 9:15 AM, Teddy Kumpel <teddybut@mac.com>  
> wrote:
>> I'm down with this Tom... the RC-50, while my main looper at this  
>> point, is
>> really annoying because of the glitches, midi sync and time  
>> stretching.
>>
>> which do you think would be more effective, a class action letter  
>> from a
>> lawyer or the website? or both have to happen?
>> The suit is a good idea because, after all, their own marketing  
>> blurbs tout
>> all those features as key reasons why to buy the thing.
>>
>> teddy k
>>
>>
>>
>>
>> On Feb 26, 2008, at 2:01 PM, Tom Ritchford wrote:
>>
>>
>> On Tue, Feb 26, 2008 at 4:34 AM, doc rossi <docittern@gmail.com>  
>> wrote:
>>>
>>> On Feb 26, 2008, at 9:24 AM, Tom Ritchford wrote:
>>>
>>>> If we make a big fuss, saying, "YOUR UNIT HAS SERIOUS ISSUES AND  
>>>> YOU
>>>
>>>> WON'T FIX THEM" then it will be bad PR for them.  at least we get  
>>>> to
>>>> cost them some $$$....  because if people really believe "they make
>>>> crappy products they won't support" then they won't buy them!
>>>
>>> I appreciate the idea, but I'm not sure they are worried about PR -
>>
>> There isn't a company in the world that sells to consumers that isn't
>> worried about PR.  I mean, they care enough to put out their own  
>> magazine.
>>
>> Believe you me, this is the sort of conversation that companies are
>> terrified of:
>>
>> "I'm going to get a Roland xxx"
>> "Oh, my friend had endless trouble with Roland's yyy -- don't do it."
>>
>> Whole companies have collapsed based on that sort of thing.
>>
>> If you read the explanation from tech support, it's really  
>> dishonest.  They
>> don't want to fix their old products because they're busy making new
>> products.  In other words, it's a massive con to get your money with
>> products that don't work, and they'll never fix.
>>
>> So.  I'll set up the domain, and make some movies.  My movies  
>> probably won't
>> come for a week, as even though I have a nice camera, it stays near  
>> the
>> gig....  so get on your movies.
>>
>>
>> I'm also realizing that it might be fun to sue them in small claims  
>> court...
>> as it isn't very time-consuming for me, and they probably won't  
>> show up to
>> contest it.
>>
>> I have a particular hatred of being ripped off by large  
>> corporations because
>> you know they're doing it to thousands of others.
>
>
>
> -- 
> /t
>

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Subject: Re: RC-50 / RC50 delay issues
Date: Fri, 29 Feb 2008 07:46:23 -0500
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>  bristle when people say I DJ when
> in fact it's all played live.

Those lines are so blurred these days, and they're gong to get  
blurrier. DJ's make way more money and play to bigger crowds anyway. I  
say embrace it. I use percussion loops of lengths I know I need for  
certain songs. Spectrasonics RMX is particularly great for this.




On Feb 28, 2008, at 8:01 PM, Tom Ritchford wrote:

> On Wed, Feb 27, 2008 at 3:34 PM, Stuart Masters
> <stuartmasterz@yahoo.co.uk> wrote:
>> Thanks, Sjaak, I'll check that out.
>>
>> I also agree about looking at what the RC50 was intended for... if  
>> you
>> preload it with tracks, it's unbeatable. I heard of a Flamenco style
>> guitarist who used it to duel with himself, using preloaded tracks
>
> Yes, I'm sure you're right about this too -- it's extremely tempting
> just to load up a bunch of stereo loop samples and go.  But I really
> do like that "live aesthetic" -- I bristle when people say I DJ when
> in fact it's all played live.
>
> Still, it should at least do the basic functions it offers correctly.
>
> BTW, the timefactor arrived -- not sure how soon I'll get to check it
> out.  I really love those Eventide pitch shifts...
>

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 12:50:04 2008
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Do you have to turn it off again and restart once rhythm guide is  
switched off? Or does it go back by itself?
On Feb 29, 2008, at 5:36 AM, Sjaak wrote:

> Stuart Masters wrote:
>> Ok, maybe I'm being really stupid here. Is it possible to avoid the  
>> loop playback glitch entirely if you select 'sound priority mode'?
>
> Yes. With the "sound priority" mode, you decide the start and end  
> points of the loop, not the RC-50. That's the different with the  
> 1.00 version. But keep in mind the RC-50 switches back to the old  
> behaviour if you set the rhythm guide on, so make sure it's OFF.
>
>>  I downloaded the update and because it had almost solved the  
>> problem, I assumed that was the fix - I didn't realise you had to  
>> perform a function first to get it to work.
>
> Yep. See the 1.01 OS release notes for all the details or check my  
> website on how the set the default startup mode of the RC-50
>
> Sjaak
> ---
> Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
> http://www.scarlet.be/
>

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 13:34:40 2008
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> Chris wrote:
> Do you have to turn it off again and restart once rhythm guide is  
> switched off? Or does it go back by itself?
> On Feb 29, 2008, at 5:36 AM, Sjaak wrote:

Once you've changed the default setting to "Sound Priority" mode, the def=
ault setting is saved. If you turn on the rhythm guide, the RC-50 switche=
s to rhythm mode causing the glitch and if you turn the rhythm guide off =
again, it automaticly switches back to "Sound Priority" mode.

Summary OS 1.00
* Default mode =3D rhythm mode 

Summary OS 1.01
* Default mode =3D rhythm mode
* Default mode must be changed to Sound priority mode with [LOOP SYNC] + =
[PHRASE 2] buttons while starting the RC-50

Btw: there's no visual way to check what the default mode is using the sy=
stem menu. Also: the OS 1.02 manual says: "Check what=92s displayed on th=
e title screen, then release the buttons." Well, nothing is displayed on =
the title screen but the fix does work :) You can only hear it.

Sjaak=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0A=
http://www.scarlet.be/

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 13:36:58 2008
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Oeps....I mean OS 1.01, not 1.02...that doesn't exist :)


> Sjaak wrote:
> Btw: there's no visual way to check what the default mode is using the =
system menu. Also: the OS 1.02 manual says: "Check what=92s displayed on =
the title screen, then release the buttons." Well, nothing is displayed o=
n the title screen but the fix does work :) You can only hear it.

=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0Ahttp:=
//www.scarlet.be/

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 13:48:02 2008
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Hi Sjaak

really GREAT page on the RC-50 !
Make sure it get's linked on the LD web page RC-50 section.

Best rgds
Buzap

> > Although I'm not a "rebel" type of guy , this is my contribution of our
> mutual friend and enemy, the RC-50 ;) Scroll down to the RC-50 section on
> the page below, it also contains tips and workarounds for several issues.
> >
> >  http://home.scarlet.be/gare-d-anvers/sjaak/livelooping.htm
> >
> >  Regards,
> >  Sjaak

-- 
Psst! Geheimtipp: Online Games kostenlos spielen bei den GMX Free Games! 
http://games.entertainment.web.de/de/entertainment/games/free

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 14:02:25 2008
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> the following statement by Roland (on the RC-50 page):-
> "Itâ€™s the best live looping tool ever built for that matter."

Am I wrong in feeling offended after reading that statement?  What's best 
for one person isn't necessarily best for another.

-Bob Amstadt 

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 14:05:10 2008
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Stuart Masters wrote:
> Out of interest, is anyone else holding their breath for the Boomerang =
3 in favour of the RC-50? I know it's not available yet but it's supposed=
 to be within two months I think.

Yes, I'm still thinking of replacing my RC-50. But the choice is limited =
if you are looking for something like the RC-50 + good midi sync, feedbac=
k control and good time/pitch stretching. I don't know a hardware looper =
which does that for 500 EUR or less.

Sjaak
=0A---=0AScarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...=0Ahttp:=
//www.scarlet.be/

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 14:32:46 2008
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Chris Sewell wrote:
>>  bristle when people say I DJ when
>> in fact it's all played live.
> 
> Those lines are so blurred these days, and they're gong to get blurrier. 
> DJ's make way more money and play to bigger crowds anyway. 

If live musicians can't prove that live is more exciting than canned then live music will die out completely.


andy butler 

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 14:39:26 2008
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That is another subject that could go on forever. I basically agree  
with you, but the times they are a changin. Berklee now has a DJ  
department. Which I find shocking.



On Feb 29, 2008, at 9:32 AM, andy butler wrote:

> Chris Sewell wrote:
>>>  bristle when people say I DJ when
>>> in fact it's all played live.
>> Those lines are so blurred these days, and they're gong to get  
>> blurrier. DJ's make way more money and play to bigger crowds anyway.
>
> If live musicians can't prove that live is more exciting than  
> canned then live music will die out completely.
>
>
> andy butler

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Bob Amstadt wrote:
>> the following statement by Roland (on the RC-50 page):-
>> "Itâ€™s the best live looping tool ever built for that matter."
> 
> Am I wrong in feeling offended after reading that statement? 
> What's 
> best for one person isn't necessarily best for another.

Sadly, Roland have the power to say stuff like that and have people believe it.


andy
(ps, your <reply-to> field has you're personal email, so if someone just hits reply on that it'll go to you and not the list)

> 
> -Bob Amstadt
> 

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Subject: Re: Upwards pitch shift (Was Re: qualities of reverb OT)
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highhorse@mhorse.com wrote:
> I'm disappointed to hear this. One of the wishes I've never gotten 
> around to fulfilling is a good clean octave-up effect. I especially like 
> the Henry Kaiser/Nels Cline trick of shifting up an octave, then 
> rhythmically bypassing the effect. I don't know what Henry Kaiser used, 
> but I saw video of him doing it in the early 80's so I'm guessing an 
> Eventide.

HK uses a delay with square wave modulation on the time.
(it was discussed here just after y2k7)


> Nels uses one of the original Digitech Whammies, which seems 
> to track very well (and he plays so fast it'd be obvious if there was a 
> lag),

Speed of playing isn't affected by lag.
(just accuracy of timing)

> but they're very pricey and bulky, so I was hoping the microPOG 
> would fit the bill. So is there actually some delay in the octave up? 

yes
it's not possible to do real time up-shift without some lag.

> And it's unusably flat...?

it *is* a bit flat,
whether it works for you only you can decide.

why not check out the Youtube videos.

I'd also dispute their claim that it's polyphonic.
On simple (rock) chords it works, but on complex chords
it's nasty sounding.

The sub-octave tracking for single note lines is superb, however,
with no delay and good intonation.

andy butler


> 
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
> 
>>
>> Generally the harmoniser type effects introduce too much delay to be
>> good for basslines,
>> only harmoniser I've heard that tracks without delay is in the new
>> ElectroHarmonix stuff,
>> the POG, microPOG and HOG, but thought the sound was a bit wierd, and
>> the pitch up was so flat it was unusable.
>> (it's not possible to do pitch shift up without some delay, but pitch
>> down is possible)
>>
>> andy
> 
> 

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From: Stuart Masters <stuartmasterz@yahoo.co.uk>
Subject: Re: RC-50 alternatives
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Yeah, choice does seem pretty limited at the moment. 
   
  Once again, thanks for all your pointers, Sjaak - I literally didn't have a clue that I could have made the RC-50 work for me. I've gone and sold it now. 
   
  I think your RC-50 page could be really useful for any other potential/current users.
   
  

Sjaak <tcplugin@scarlet.be> wrote:
  Stuart Masters wrote:
> Out of interest, is anyone else holding their breath for the Boomerang 3 in favour of the RC-50? I know it's not available yet but it's supposed to be within two months I think.

Yes, I'm still thinking of replacing my RC-50. But the choice is limited if you are looking for something like the RC-50 + good midi sync, feedback control and good time/pitch stretching. I don't know a hardware looper which does that for 500 EUR or less.

Sjaak

---
Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...
http://www.scarlet.be/



       
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<div>Yeah,&nbsp;choice does seem pretty limited at the moment. </div>  <div>&nbsp;</div>  <div>Once again, thanks for all your pointers, Sjaak - I literally didn't have a clue that I could have made&nbsp;the RC-50&nbsp;work for me. I've gone and sold it now. </div>  <div>&nbsp;</div>  <div>I think&nbsp;your RC-50 page could be really useful for any other potential/current users.</div>  <div>&nbsp;</div>  <div><BR><BR><B><I>Sjaak &lt;tcplugin@scarlet.be&gt;</I></B> wrote:</div>  <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">Stuart Masters wrote:<BR>&gt; Out of interest, is anyone else holding their breath for the Boomerang 3 in favour of the RC-50? I know it's not available yet but it's supposed to be within two months I think.<BR><BR>Yes, I'm still thinking of replacing my RC-50. But the choice is limited if you are looking for something like the RC-50 + good midi sync, feedback control and good time/pitch stretching. I
 don't know a hardware looper which does that for 500 EUR or less.<BR><BR>Sjaak<BR><BR>---<BR>Scarlet One, ADSL 6 Mbps + Telefonie, vanaf EUR 29,95...<BR>http://www.scarlet.be/<BR><BR></BLOCKQUOTE><BR><p>&#32;



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From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 15:13:01 2008
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Date: Fri, 29 Feb 2008 09:12:58 -0600
From: "Doug Cox" <uncledig@gmail.com>
To: loopers-delight <Loopers-Delight@loopers-delight.com>
Subject: My RPM record
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Hi loopers!

Been away and busy a lot lately, so I've got some catching up to do.
In the meantime I thought I'd offer up my RPM Challenge record
(http://www.rpmchallenge.com if you want to know more about the
challenge).  Written and recorded in the first 26 days of Feb 2008.

I wrote a blog post about it here:  http://www.uncledig.com/

or you can go straight for the goods, here:

http://www.uncledig.com/RPM08final/uncledig_bittersweet_drive.zip

While this is not a "looping" record per se, there are quite a bit of
Mobius and EDP looping bits involved.  If you just want to hear
something that's very loop-based, the last track "Division Of Natural
Light" is done with lots of Mobius rate shifting of short guitar
loops.

Hope you enjoy!  Thanks in advance for listening.

Doug

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 15:40:55 2008
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Subject: Re: My RPM record
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Congratulations, Doug! I'm downloading it now.

I also did a recording for RPM I'll be sharing soon, and I know Jim  
Goodin is working on one. Anybody else crank out an album?

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com


> Hi loopers!
>
> Been away and busy a lot lately, so I've got some catching up to do.
> In the meantime I thought I'd offer up my RPM Challenge record
> (http://www.rpmchallenge.com if you want to know more about the
> challenge).  Written and recorded in the first 26 days of Feb 2008.
>
> I wrote a blog post about it here:  http://www.uncledig.com/
>
> or you can go straight for the goods, here:
>
> http://www.uncledig.com/RPM08final/uncledig_bittersweet_drive.zip

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 15:47:44 2008
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Thanks Daryl!

Looking forward to hearing yours and any other LD RPM'ers.  There's
some really good stuff coming out of this event.

Doug

On Fri, Feb 29, 2008 at 9:40 AM,  <highhorse@mhorse.com> wrote:
> Congratulations, Doug! I'm downloading it now.
>
>  I also did a recording for RPM I'll be sharing soon, and I know Jim
>  Goodin is working on one. Anybody else crank out an album?
>
>  Daryl Shawn
>  www.swanwelder.com
>  www.chinapaintingmusic.com
>
>
>
>
>  > Hi loopers!
>  >
>  > Been away and busy a lot lately, so I've got some catching up to do.
>  > In the meantime I thought I'd offer up my RPM Challenge record
>  > (http://www.rpmchallenge.com if you want to know more about the
>  > challenge).  Written and recorded in the first 26 days of Feb 2008.
>  >
>  > I wrote a blog post about it here:  http://www.uncledig.com/
>  >
>  > or you can go straight for the goods, here:
>  >
>  > http://www.uncledig.com/RPM08final/uncledig_bittersweet_drive.zip
>
>

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Date: Fri, 29 Feb 2008 08:59:23 -0800 (PST)
From: scott hansen <evanpeewee@yahoo.com>
Subject: OT: late reply to: MULTI-EFFECTS & REVERB
To: Loopers-Delight@loopers-delight.com
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late reply-
multi-effects-i will have to agree w/ someone who said: you have an eventide eclipse and lexicon mpx100 and tc fireworks--AND YOU NEED MORE EFFECTS?

i thought the eventides where the king of good weird effects? way out of my price range! my setup currently: (guitar or keyboard-)zoom g2-digitech rp150-digitech synthwah-boss dd20-(kustom 12 watt tube amp or direct to fostex mr8)...

my cheapo set up allows me to get normal sounds or anything pretty wacky if i need it. the zoom g2 has some interesting options w/ the ring mod, and then it splits the wahs/ring/phaser/tremolo before amp, and then gives you some other modulations options (chorus-pitch, etc) after, and there are possibility of having 3 different delays going (good if you are only using one effect devise)...so i think its a good sonic mangler, but i'm not sure if i'd say it would beat an eventide unit, i mean it does only cost 100$!

as for REVERBS: i have minimal experience w/ a lot of gear, i did like the reverbs on my digitech dsp256xl-it had a real 80's quality to it, but i liked that. had a lot of spacey sounds. i also liked my lexicon mpx100-thought the reverbs were good & all-UNTIL THE THING DIED ON ME!!!!. didn't like that. from what i've read, it appears that the folks who are masters of spacey reverb stuff (Torn, Fripp, et al) all seem to use either the highend Lexicon units or Eventide units. 

the funny thing about this thread is i have been thinking about my reverb options-i like my multi-effect pedal options, but haven't been loving the reverb sounds in the units and have debated getting another rack unit for reverbs. just don't like the space they take up. and i've also been missing the option of reversing samples that my old dod d12 did so easy w/ the 6 sec samples. always searching i guess....
s---

       
---------------------------------
Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
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late reply-<br>multi-effects-i will have to agree w/ someone who said: you have an eventide eclipse and lexicon mpx100 and tc fireworks--AND YOU NEED MORE EFFECTS?<br><br>i thought the eventides where the king of good weird effects? way out of my price range! my setup currently: (guitar or keyboard-)zoom g2-digitech rp150-digitech synthwah-boss dd20-(kustom 12 watt tube amp or direct to fostex mr8)...<br><br>my cheapo set up allows me to get normal sounds or anything pretty wacky if i need it. the zoom g2 has some interesting options w/ the ring mod, and then it splits the wahs/ring/phaser/tremolo before amp, and then gives you some other modulations options (chorus-pitch, etc) after, and there are possibility of having 3 different delays going (good if you are only using one effect devise)...so i think its a good sonic mangler, but i'm not sure if i'd say it would beat an eventide unit, i mean it does only cost 100$!<br><br>as for REVERBS: i have minimal experience w/ a
 lot of gear, i did like the reverbs on my digitech dsp256xl-it had a real 80's quality to it, but i liked that. had a lot of spacey sounds. i also liked my lexicon mpx100-thought the reverbs were good &amp; all-UNTIL THE THING DIED ON ME!!!!. didn't like that. from what i've read, it appears that the folks who are masters of spacey reverb stuff (Torn, Fripp, et al) all seem to use either the highend Lexicon units or Eventide units. <br><br>the funny thing about this thread is i have been thinking about my reverb options-i like my multi-effect pedal options, but haven't been loving the reverb sounds in the units and have debated getting another rack unit for reverbs. just don't like the space they take up. and i've also been missing the option of reversing samples that my old dod d12 did so easy w/ the 6 sec samples. always searching i guess....<br>s---<br><p>&#32;
      <hr size=1>Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile. <a href="http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ "> Try it now.</a>
--0-853727902-1204304363=:46282--

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 17:21:10 2008
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Date: Fri, 29 Feb 2008 12:21:06 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: late reply to: MULTI-EFFECTS & REVER
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I've been pretty happy with the reverb in my Roland RSP550.  Has some
other cool fx too.  I haven't tried yet, but it has MIDI control
ability.  Too much to do, too little time to experiment.

Tony

On Fri, Feb 29, 2008 at 11:59 AM, scott hansen <evanpeewee@yahoo.com> wrote:
> late reply-
> multi-effects-i will have to agree w/ someone who said: you have an eventide
> eclipse and lexicon mpx100 and tc fireworks--AND YOU NEED MORE EFFECTS?
>
> i thought the eventides where the king of good weird effects? way out of my
> price range! my setup currently: (guitar or keyboard-)zoom g2-digitech
> rp150-digitech synthwah-boss dd20-(kustom 12 watt tube amp or direct to
> fostex mr8)...
>
> my cheapo set up allows me to get normal sounds or anything pretty wacky if
> i need it. the zoom g2 has some interesting options w/ the ring mod, and
> then it splits the wahs/ring/phaser/tremolo before amp, and then gives you
> some other modulations options (chorus-pitch, etc) after, and there are
> possibility of having 3 different delays going (good if you are only using
> one effect devise)...so i think its a good sonic mangler, but i'm not sure
> if i'd say it would beat an eventide unit, i mean it does only cost 100$!
>
> as for REVERBS: i have minimal experience w/ a lot of gear, i did like the
> reverbs on my digitech dsp256xl-it had a real 80's quality to it, but i
> liked that. had a lot of spacey sounds. i also liked my lexicon
> mpx100-thought the reverbs were good & all-UNTIL THE THING DIED ON ME!!!!.
> didn't like that. from what i've read, it appears that the folks who are
> masters of spacey reverb stuff (Torn, Fripp, et al) all seem to use either
> the highend Lexicon units or Eventide units.
>
> the funny thing about this thread is i have been thinking about my reverb
> options-i like my multi-effect pedal options, but haven't been loving the
> reverb sounds in the units and have debated getting another rack unit for
> reverbs. just don't like the space they take up. and i've also been missing
> the option of reversing samples that my old dod d12 did so easy w/ the 6 sec
> samples. always searching i guess....
> s---
>
>
>  ________________________________
> Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it
> now.

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 17:36:37 2008
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Date: Fri, 29 Feb 2008 12:36:31 -0500
From: "Dennis Moser" <sinsofmachaut@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: My RPM record
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Yes, I finished mine up last weekend and it went out this past
Tuesday; fair bit of looping involved, but not obvious at all on some
of it. I was only able to post one track up on their website, but will
be posting the rest of the content elsewhere when I get over the
wretched cold that has had me bed-ridden the past three days
...grrrrrr ...

Here's a link to the one track at RPM:

http://www.rpmchallenge.com/component/option,com_comprofiler/task,userProfile/Itemid,296/

(Scroll down to the player ...)

~~ Dennis

On Fri, Feb 29, 2008 at 10:40 AM,  <highhorse@mhorse.com> wrote:
> Congratulations, Doug! I'm downloading it now.
>
>  I also did a recording for RPM I'll be sharing soon, and I know Jim
>  Goodin is working on one. Anybody else crank out an album?
>
>  Daryl Shawn
>  www.swanwelder.com
>  www.chinapaintingmusic.com
>
>
>
>
>  > Hi loopers!
>  >
>  > Been away and busy a lot lately, so I've got some catching up to do.
>  > In the meantime I thought I'd offer up my RPM Challenge record
>  > (http://www.rpmchallenge.com if you want to know more about the
>  > challenge).  Written and recorded in the first 26 days of Feb 2008.
>  >
>  > I wrote a blog post about it here:  http://www.uncledig.com/
>  >
>  > or you can go straight for the goods, here:
>  >
>  > http://www.uncledig.com/RPM08final/uncledig_bittersweet_drive.zip
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 17:50:09 2008
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Date: Fri, 29 Feb 2008 12:50:04 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: loopers-delight <Loopers-Delight@loopers-delight.com>
Subject: More loopy fun from Tony
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loopy bloopy fun. :)

http://www.thinginajar.com/bigtony/(Tony K) Through The Abstract.mp3

-- 
-==-=-=-
Tony

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 17:55:04 2008
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Date: Fri, 29 Feb 2008 12:55:01 -0500
From: "Dennis Moser" <sinsofmachaut@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: My RPM record
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Disregard that URL for my RPM submission ... their server seems to be
having some serious issues with disk space (imagine that, with as many
submissions as they got this year!).

I'll try and post a URL for the tracks later ...

Dennis

On Fri, Feb 29, 2008 at 10:12 AM, Doug Cox <uncledig@gmail.com> wrote:
> Hi loopers!
>
>  Been away and busy a lot lately, so I've got some catching up to do.
>  In the meantime I thought I'd offer up my RPM Challenge record
>  (http://www.rpmchallenge.com if you want to know more about the
>  challenge).  Written and recorded in the first 26 days of Feb 2008.
>
>  I wrote a blog post about it here:  http://www.uncledig.com/
>
>  or you can go straight for the goods, here:
>
>  http://www.uncledig.com/RPM08final/uncledig_bittersweet_drive.zip
>
>  While this is not a "looping" record per se, there are quite a bit of
>  Mobius and EDP looping bits involved.  If you just want to hear
>  something that's very loop-based, the last track "Division Of Natural
>  Light" is done with lots of Mobius rate shifting of short guitar
>  loops.
>
>  Hope you enjoy!  Thanks in advance for listening.
>
>  Doug
>
>

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Date: Fri, 29 Feb 2008 10:01:55 -0800 (PST)
From: scott hansen <evanpeewee@yahoo.com>
Subject: Upwards pitch shift (Was Re: qualities of reverb OT)
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <20071211194453.EEED13BEB6@arsenic.violacea.com>
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i've never seen early 80's vid of henry kaiser, but i have his early 90's eclectic electric and his dvd: a bunch of guitar solos...and his pitch shifting is an eventide unit (h3000something). and i have a # of cds of his, and he uses it quite a bit.

i'm not as familiar w/ nels cline setup-guess i'll need to reread the articles on him that i've saved....but if he uses a digitech whammy....

a cheap option is the digitech rp150 unit (which is the upgrade of the old rp100-both of which i've had).
the unit is cheap-100$, and has its +/- 's but for whammying i like the rp150. what i like is that the digitech rp150 can be on my table top (where i keep all my effects- i like them in hand range)--and it allows passive volume pedal to be on floor to use as whammy or volume pedal-(my rogue pedal is iffy at times on this, was great when it was new)-or wah pedal (i actually like the wah sound, my old dunlap pedal never sounded great, but many don't like the digital wahs).
but i think the rp150 units is very good for the whammy sounds (think morello, et al who've used it), much cheaper than the standard unit-the standard unit probably has some ups to it (metal and all), but i think the rp unit is decent for what it does, and hey, it does have 5 sec of delay on it, which i use a lot lately...
s---




       
---------------------------------
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i've never seen early 80's vid of henry kaiser, but i have his early 90's eclectic electric and his dvd: a bunch of guitar solos...and his pitch shifting is an eventide unit (h3000something). and i have a # of cds of his, and he uses it quite a bit.<br><br>i'm not as familiar w/ nels cline setup-guess i'll need to reread the articles on him that i've saved....but if he uses a digitech whammy....<br><br>a cheap option is the digitech rp150 unit (which is the upgrade of the old rp100-both of which i've had).<br>the unit is cheap-100$, and has its +/- 's but for whammying i like the rp150. what i like is that the digitech rp150 can be on my table top (where i keep all my effects- i like them in hand range)--and it allows passive volume pedal to be on floor to use as whammy or volume pedal-(my rogue pedal is iffy at times on this, was great when it was new)-or wah pedal (i actually like the wah sound, my old dunlap pedal never sounded great, but many don't like the digital
 wahs).<br>but i think the rp150 units is very good for the whammy sounds (think morello, et al who've used it), much cheaper than the standard unit-the standard unit probably has some ups to it (metal and all), but i think the rp unit is decent for what it does, and hey, it does have 5 sec of delay on it, which i use a lot lately...<br>s---<br><br><br><br><p>&#32;
      <hr size=1>Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile. <a href="http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ "> Try it now.</a>
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From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 18:09:04 2008
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Date: Fri, 29 Feb 2008 10:08:56 -0800
From: highhorse@mhorse.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Upwards pitch shift (Was Re: qualities of reverb OT)
References: <700890.53020.qm@web38613.mail.mud.yahoo.com>
	<47C69502.4060002@tiscali.co.uk>
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Thanks for the info, Andy, I'll check out some of their vids. By =20
referring to his speed, I should have mentioned that when I see him =20
live, I sit obsessively close and could tell if one of his 128th-note =20
runs was popping out with a delay.

Too bad about chords, I was hoping it'd track well. And unfortunately =20
I'm less interested in the octave drop, rather that imitate a bass I =20
prefer a lovesick seagull.

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com

>
> HK uses a delay with square wave modulation on the time.
> (it was discussed here just after y2k7)
>
>
>> Nels uses one of the original Digitech Whammies, which seems to =20
>> track very well (and he plays so fast it'd be obvious if there was =20
>> a lag),
>
> Speed of playing isn't affected by lag.
> (just accuracy of timing)
>
>> but they're very pricey and bulky, so I was hoping the microPOG =20
>> would fit the bill. So is there actually some delay in the octave up?
>
> yes
> it's not possible to do real time up-shift without some lag.
>
>> And it's unusably flat...?
>
> it *is* a bit flat,
> whether it works for you only you can decide.
>
> why not check out the Youtube videos.
>
> I'd also dispute their claim that it's polyphonic.
> On simple (rock) chords it works, but on complex chords
> it's nasty sounding.
>
> The sub-octave tracking for single note lines is superb, however,
> with no delay and good intonation.
>
> andy butler


From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 18:17:28 2008
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From: "Erdem Helvacioglu" <erdemhel@tnn.net>
To: <Loopers-Delight@loopers-delight.com>
References: <625537.46282.qm@web33103.mail.mud.yahoo.com>
Subject: Re: late reply to: MULTI-EFFECTS & REVERB
Date: Fri, 29 Feb 2008 20:16:34 +0200
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hey,

i always need more effects :) just kidding....

i was just wondering if there are any interesting hardware multieffects =
units on the market besides the fireworx and eclipse. lately i am much =
more interested in boutique analog pedals like zvex ringtone, fuzz =
factory etc. i think i will try those soon.

as for micropog. i have recently bought in NY. i use it for pitch =
shifting the delay lines. for that effect, it is very good. but for =
chords it is pretty useless unfortunately. it has a very organ like =
sound which some of you may love or hate.

thanks a lot and best regards.

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Altered Realities" album is out on New Albion Records:
chosen as"Album of the year 2007" by All About Jazz Magazine
www.newalbion.com/NA131
www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D8-1=
/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8
  ----- Original Message -----=20
  From: scott hansen=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Friday, February 29, 2008 6:59 PM
  Subject: OT: late reply to: MULTI-EFFECTS & REVERB


  late reply-
  multi-effects-i will have to agree w/ someone who said: you have an =
eventide eclipse and lexicon mpx100 and tc fireworks--AND YOU NEED MORE =
EFFECTS?

  i thought the eventides where the king of good weird effects? way out =
of my price range! my setup currently: (guitar or keyboard-)zoom =
g2-digitech rp150-digitech synthwah-boss dd20-(kustom 12 watt tube amp =
or direct to fostex mr8)...

  my cheapo set up allows me to get normal sounds or anything pretty =
wacky if i need it. the zoom g2 has some interesting options w/ the ring =
mod, and then it splits the wahs/ring/phaser/tremolo before amp, and =
then gives you some other modulations options (chorus-pitch, etc) after, =
and there are possibility of having 3 different delays going (good if =
you are only using one effect devise)...so i think its a good sonic =
mangler, but i'm not sure if i'd say it would beat an eventide unit, i =
mean it does only cost 100$!

  as for REVERBS: i have minimal experience w/ a lot of gear, i did like =
the reverbs on my digitech dsp256xl-it had a real 80's quality to it, =
but i liked that. had a lot of spacey sounds. i also liked my lexicon =
mpx100-thought the reverbs were good & all-UNTIL THE THING DIED ON =
ME!!!!. didn't like that. from what i've read, it appears that the folks =
who are masters of spacey reverb stuff (Torn, Fripp, et al) all seem to =
use either the highend Lexicon units or Eventide units.=20

  the funny thing about this thread is i have been thinking about my =
reverb options-i like my multi-effect pedal options, but haven't been =
loving the reverb sounds in the units and have debated getting another =
rack unit for reverbs. just don't like the space they take up. and i've =
also been missing the option of reversing samples that my old dod d12 =
did so easy w/ the 6 sec samples. always searching i guess....
  s---



-------------------------------------------------------------------------=
-----
  Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try =
it now.
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3199" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>hey,</DIV>
<DIV>&nbsp;</DIV>
<DIV>i always need more effects :) just kidding....</DIV>
<DIV>&nbsp;</DIV>
<DIV>i was just wondering if there are any interesting hardware =
multieffects=20
units on the market besides the fireworx and eclipse. lately i am much =
more=20
interested in boutique analog pedals like zvex ringtone, fuzz factory =
etc. i=20
think i will try those soon.</DIV>
<DIV>&nbsp;</DIV>
<DIV>as for micropog. i have recently bought in NY. i use it for pitch =
shifting=20
the delay lines. for that effect, it is very good. but for chords it is =
pretty=20
useless unfortunately. it has a very organ like sound which some of you =
may love=20
or hate.</DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks a lot and best regards.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
* * * * * * * * * * * * * * * * * * *<BR>"Altered Realities" album is =
out on New=20
Albion Records:<BR>chosen as"Album of the year 2007" by All About Jazz=20
Magazine<BR><A=20
href=3D"http://www.newalbion.com/NA131">www.newalbion.com/NA131</A><BR><A=
=20
href=3D"http://www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000=
GFLE9A/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=
=3DUTF8">www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A=
/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF=
8</A></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Devanpeewee@yahoo.com =
href=3D"mailto:evanpeewee@yahoo.com">scott=20
  hansen</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  title=3DLoopers-Delight@loopers-delight.com=20
  =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Friday, February 29, 2008 =
6:59=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> OT: late reply to: =
MULTI-EFFECTS=20
  &amp; REVERB</DIV>
  <DIV><BR></DIV>late reply-<BR>multi-effects-i will have to agree w/ =
someone=20
  who said: you have an eventide eclipse and lexicon mpx100 and tc=20
  fireworks--AND YOU NEED MORE EFFECTS?<BR><BR>i thought the eventides =
where the=20
  king of good weird effects? way out of my price range! my setup =
currently:=20
  (guitar or keyboard-)zoom g2-digitech rp150-digitech synthwah-boss=20
  dd20-(kustom 12 watt tube amp or direct to fostex mr8)...<BR><BR>my =
cheapo set=20
  up allows me to get normal sounds or anything pretty wacky if i need =
it. the=20
  zoom g2 has some interesting options w/ the ring mod, and then it =
splits the=20
  wahs/ring/phaser/tremolo before amp, and then gives you some other =
modulations=20
  options (chorus-pitch, etc) after, and there are possibility of having =
3=20
  different delays going (good if you are only using one effect =
devise)...so i=20
  think its a good sonic mangler, but i'm not sure if i'd say it would =
beat an=20
  eventide unit, i mean it does only cost 100$!<BR><BR>as for REVERBS: i =
have=20
  minimal experience w/ a lot of gear, i did like the reverbs on my =
digitech=20
  dsp256xl-it had a real 80's quality to it, but i liked that. had a lot =
of=20
  spacey sounds. i also liked my lexicon mpx100-thought the reverbs were =
good=20
  &amp; all-UNTIL THE THING DIED ON ME!!!!. didn't like that. from what =
i've=20
  read, it appears that the folks who are masters of spacey reverb stuff =
(Torn,=20
  Fripp, et al) all seem to use either the highend Lexicon units or =
Eventide=20
  units. <BR><BR>the funny thing about this thread is i have been =
thinking about=20
  my reverb options-i like my multi-effect pedal options, but haven't =
been=20
  loving the reverb sounds in the units and have debated getting another =
rack=20
  unit for reverbs. just don't like the space they take up. and i've =
also been=20
  missing the option of reversing samples that my old dod d12 did so =
easy w/ the=20
  6 sec samples. always searching i guess....<BR>s---<BR>
  <P>
  <HR SIZE=3D1>
  Be a better friend, newshound, and know-it-all with Yahoo! Mobile. <A=20
  =
href=3D"http://us.rd.yahoo.com/evt=3D51733/*http://mobile.yahoo.com/;_ylt=
=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ">Try=20
  it now.</A></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_007E_01C87B0F.FAB98FD0--

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 18:20:43 2008
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To: "Loopers-Delight@loopers-delight.com"
	<Loopers-Delight@loopers-delight.com>
Date: Fri, 29 Feb 2008 12:20:39 -0600
Subject: RE: late reply to: MULTI-EFFECTS & REVERB
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________________________________
From: Erdem Helvacioglu [mailto:erdemhel@tnn.net]
Sent: Friday, February 29, 2008 12:17 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: late reply to: MULTI-EFFECTS & REVERB

hey,

i always need more effects :) just kidding....

i was just wondering if there are any interesting hardware multieffects uni=
ts on the market besides the fireworx and eclipse. lately i am much more in=
terested in boutique analog pedals like zvex ringtone, fuzz factory etc. i =
think i will try those soon.

as for micropog. i have recently bought in NY. i use it for pitch shifting =
the delay lines. for that effect, it is very good. but for chords it is pre=
tty useless unfortunately. it has a very organ like sound which some of you=
 may love or hate.

thanks a lot and best regards.

Erdem Helvacioglu
www.erdemhelvacioglu.com<http://www.erdemhelvacioglu.com>
www.myspace.com/erdemhelvacioglu<http://www.myspace.com/erdemhelvacioglu>
* * * * * * * * * * * * * * * * * * * *
"Altered Realities" album is out on New Albion Records:
chosen as"Album of the year 2007" by All About Jazz Magazine
www.newalbion.com/NA131<http://www.newalbion.com/NA131>
www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D8-1/q=
id=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8<http://www.=
amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D8-1/qid=
=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8>
----- Original Message -----
From: scott hansen<mailto:evanpeewee@yahoo.com>
To: Loopers-Delight@loopers-delight.com<mailto:Loopers-Delight@loopers-deli=
ght.com>
Sent: Friday, February 29, 2008 6:59 PM
Subject: OT: late reply to: MULTI-EFFECTS & REVERB

late reply-
multi-effects-i will have to agree w/ someone who said: you have an eventid=
e eclipse and lexicon mpx100 and tc fireworks--AND YOU NEED MORE EFFECTS?

i thought the eventides where the king of good weird effects? way out of my=
 price range! my setup currently: (guitar or keyboard-)zoom g2-digitech rp1=
50-digitech synthwah-boss dd20-(kustom 12 watt tube amp or direct to fostex=
 mr8)...

my cheapo set up allows me to get normal sounds or anything pretty wacky if=
 i need it. the zoom g2 has some interesting options w/ the ring mod, and t=
hen it splits the wahs/ring/phaser/tremolo before amp, and then gives you s=
ome other modulations options (chorus-pitch, etc) after, and there are poss=
ibility of having 3 different delays going (good if you are only using one =
effect devise)...so i think its a good sonic mangler, but i'm not sure if i=
'd say it would beat an eventide unit, i mean it does only cost 100$!

as for REVERBS: i have minimal experience w/ a lot of gear, i did like the =
reverbs on my digitech dsp256xl-it had a real 80's quality to it, but i lik=
ed that. had a lot of spacey sounds. i also liked my lexicon mpx100-thought=
 the reverbs were good & all-UNTIL THE THING DIED ON ME!!!!. didn't like th=
at. from what i've read, it appears that the folks who are masters of space=
y reverb stuff (Torn, Fripp, et al) all seem to use either the highend Lexi=
con units or Eventide units.

the funny thing about this thread is i have been thinking about my reverb o=
ptions-i like my multi-effect pedal options, but haven't been loving the re=
verb sounds in the units and have debated getting another rack unit for rev=
erbs. just don't like the space they take up. and i've also been missing th=
e option of reversing samples that my old dod d12 did so easy w/ the 6 sec =
samples. always searching i guess....
s---

________________________________
Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it n=
ow.<http://us.rd.yahoo.com/evt=3D51733/*http://mobile.yahoo.com/;_ylt=3DAhu=
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--_000_7872203368197C4691224688958BE71440744F84B4barqsailpoint_
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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3Dus-ascii">
<META content=3D"MSHTML 6.00.6000.16544" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV dir=3Dltr align=3Dleft>&nbsp;</DIV><BR>
<BLOCKQUOTE dir=3Dltr style=3D"MARGIN-RIGHT: 0px">
  <DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr align=3Dleft>
  <HR tabIndex=3D-1>
  <FONT face=3DTahoma size=3D2><B>From:</B> Erdem Helvacioglu=20
  [mailto:erdemhel@tnn.net] <BR><B>Sent:</B> Friday, February 29, 2008 12:1=
7=20
  PM<BR><B>To:</B> Loopers-Delight@loopers-delight.com<BR><B>Subject:</B> R=
e:=20
  late reply to: MULTI-EFFECTS &amp; REVERB<BR></FONT><BR></DIV>
  <DIV></DIV>
  <DIV>hey,</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>i always need more effects :) just kidding....</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>i was just wondering if there are any interesting hardware multieffe=
cts=20
  units on the market besides the fireworx and eclipse. lately i am much mo=
re=20
  interested in boutique analog pedals like zvex ringtone, fuzz factory etc=
. i=20
  think i will try those soon.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>as for micropog. i have recently bought in NY. i use it for pitch=20
  shifting the delay lines. for that effect, it is very good. but for chord=
s it=20
  is pretty useless unfortunately. it has a very organ like sound which som=
e of=20
  you may love or hate.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>thanks a lot and best regards.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Erdem Helvacioglu<BR><A=20
  href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
  href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
  * * * * * * * * * * * * * * * * * * *<BR>"Altered Realities" album is out=
 on=20
  New Albion Records:<BR>chosen as"Album of the year 2007" by All About Jaz=
z=20
  Magazine<BR><A=20
  href=3D"http://www.newalbion.com/NA131">www.newalbion.com/NA131</A><BR><A=
=20
  href=3D"http://www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000=
GFLE9A/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=
=3DUTF8">www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/s=
r=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8</A=
></DIV>
  <BLOCKQUOTE=20
  style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-=
LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
    <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
    <DIV=20
    style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>F=
rom:</B>=20
    <A title=3Devanpeewee@yahoo.com href=3D"mailto:evanpeewee@yahoo.com">sc=
ott=20
    hansen</A> </DIV>
    <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
    title=3DLoopers-Delight@loopers-delight.com=20
    href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loo=
pers-delight.com</A>=20
    </DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Friday, February 29, 2008 =
6:59=20
    PM</DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> OT: late reply to:=20
    MULTI-EFFECTS &amp; REVERB</DIV>
    <DIV><BR></DIV>late reply-<BR>multi-effects-i will have to agree w/ som=
eone=20
    who said: you have an eventide eclipse and lexicon mpx100 and tc=20
    fireworks--AND YOU NEED MORE EFFECTS?<BR><BR>i thought the eventides wh=
ere=20
    the king of good weird effects? way out of my price range! my setup=20
    currently: (guitar or keyboard-)zoom g2-digitech rp150-digitech=20
    synthwah-boss dd20-(kustom 12 watt tube amp or direct to fostex=20
    mr8)...<BR><BR>my cheapo set up allows me to get normal sounds or anyth=
ing=20
    pretty wacky if i need it. the zoom g2 has some interesting options w/ =
the=20
    ring mod, and then it splits the wahs/ring/phaser/tremolo before amp, a=
nd=20
    then gives you some other modulations options (chorus-pitch, etc) after=
, and=20
    there are possibility of having 3 different delays going (good if you a=
re=20
    only using one effect devise)...so i think its a good sonic mangler, bu=
t i'm=20
    not sure if i'd say it would beat an eventide unit, i mean it does only=
 cost=20
    100$!<BR><BR>as for REVERBS: i have minimal experience w/ a lot of gear=
, i=20
    did like the reverbs on my digitech dsp256xl-it had a real 80's quality=
 to=20
    it, but i liked that. had a lot of spacey sounds. i also liked my lexic=
on=20
    mpx100-thought the reverbs were good &amp; all-UNTIL THE THING DIED ON=
=20
    ME!!!!. didn't like that. from what i've read, it appears that the folk=
s who=20
    are masters of spacey reverb stuff (Torn, Fripp, et al) all seem to use=
=20
    either the highend Lexicon units or Eventide units. <BR><BR>the funny t=
hing=20
    about this thread is i have been thinking about my reverb options-i lik=
e my=20
    multi-effect pedal options, but haven't been loving the reverb sounds i=
n the=20
    units and have debated getting another rack unit for reverbs. just don'=
t=20
    like the space they take up. and i've also been missing the option of=20
    reversing samples that my old dod d12 did so easy w/ the 6 sec samples.=
=20
    always searching i guess....<BR>s---<BR>
    <P>
    <HR SIZE=3D1>
    Be a better friend, newshound, and know-it-all with Yahoo! Mobile. <A=20
    href=3D"http://us.rd.yahoo.com/evt=3D51733/*http://mobile.yahoo.com/;_y=
lt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ">Try=20
    it now.</A></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>

--_000_7872203368197C4691224688958BE71440744F84B4barqsailpoint_--

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 18:32:23 2008
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Date: Fri, 29 Feb 2008 10:32:16 -0800
From: highhorse@mhorse.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Upwards pitch shift (Was Re: qualities of reverb OT)
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Thanks Scott, I may have to check out an rp150, the price certainly is =20
right though it's kinda big. Wonder if it uses the same engine as the =20
Whammy? I like everything on table top too, except for punch-in pedals =20
and volume. If I could rigup a remote bypass it could almost fit the =20
bill.

Why is it, actually, that there are plenty of analog octave-down =20
effects, but octave-ups are always of the Octavia fuzz type? Even =20
Zvex's Jonny Octave, which purports to be clean, is pretty damn =20
distorted, judging from the clips on their site.

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com

> a cheap option is the digitech rp150 unit (which is the upgrade of =20
> the old rp100-both of which i've had).
> the unit is cheap-100$, and has its +/- 's but for whammying i like =20
> the rp150. what i like is that the digitech rp150 can be on my table =20
> top (where i keep all my effects- i like them in hand range)--and it =20
> allows passive volume pedal to be on floor to use as whammy or =20
> volume pedal-(my rogue pedal is iffy at times on this, was great =20
> when it was new)-or wah pedal (i actually like the wah sound, my old =20
> dunlap pedal never sounded great, but many don't like the digital =20
> wahs).
> but i think the rp150 units is very good for the whammy sounds =20
> (think morello, et al who've used it), much cheaper than the =20
> standard unit-the standard unit probably has some ups to it (metal =20
> and all), but i think the rp unit is decent for what it does, and =20
> hey, it does have 5 sec of delay on it, which i use a lot lately...
> s---


From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 18:53:33 2008
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Subject: Re: Memory Man with Hazari
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I found it very easy to wipe a loop.
Hit the Bypass button and than the Tap/Record button.
Its a wipe.
The little led even goes out to show the loop is gone.





It's quite involved to wipe a loop and record a new one.?
?

...but for the low price, you could find out if you like looping.?
?


>Do?

> you think it could work in a band situation, ?

yes,?

especially the instant reverse feature.?
?

>where a?

> guitar line could be looped and used under/behind the?

> rest of the band playing a song??
?

if you really believe you need a rhythm guitar under your solo?

then the problem is not the looper.?

The problem is the the band has to play in time with your loop.?
?

??

> 
> (I'm also currently in love with the phaser on my?

> Ibanez UE-400 and the analog delay on my UA-405, and?

> am wondering how close the Hazarai could get to those?

> kinds of sounds, if anybody knows.)?
?

you can make big swooshy phase/flange sounds with the SMM if you know how.?
?

It can also do analog delay type sounds (using the filter to make the repeats get darker).?
?

Don't know how the Ibanez sounds tho'.?
?

andy butler?
?

> 
> Aloha,?

> Brad?

> 
> 
>       Connect with friends from any web browser - no download required. Try the new Yahoo! Canada Messenger for the Web BETA at http://ca.messenger.yahoo.com/webmessengerpromo.php?

> 
> ?



 


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<font face="Arial, Helvetica, sans-serif"><br>
<br>
I found it very easy to wipe a loop.<br>
Hit the Bypass button and than the Tap/Record button.<br>
Its a wipe.<br>
The little led even goes out to show the loop is gone.<br>
<br>
<br>
</font>
<div id="AOLMsgPart_0_1e7089fa-ddfa-4b58-b606-6136c7752bb4" style="margin: 0px; font-family: Tahoma,Verdana,Arial,Sans-Serif; font-size: 12px; color: rgb(0, 0, 0); background-color: rgb(255, 255, 255);"><br>

It's quite involved to wipe a loop and record a new one.&nbsp;<br>
&nbsp;<br>

...but for the low price, you could find out if you like looping.&nbsp;<br>
&nbsp;<br>


&gt;Do&nbsp;<br>

&gt; you think it could work in a band situation, &nbsp;<br>

yes,&nbsp;<br>

especially the instant reverse feature.&nbsp;<br>
&nbsp;<br>

&gt;where a&nbsp;<br>

&gt; guitar line could be looped and used under/behind the&nbsp;<br>

&gt; rest of the band playing a song?&nbsp;<br>
&nbsp;<br>

if you really believe you need a rhythm guitar under your solo&nbsp;<br>

then the problem is not the looper.&nbsp;<br>

The problem is the the band has to play in time with your loop.&nbsp;<br>
&nbsp;<br>

&nbsp;&nbsp;<br>

&gt; 
&gt; (I'm also currently in love with the phaser on my&nbsp;<br>

&gt; Ibanez UE-400 and the analog delay on my UA-405, and&nbsp;<br>

&gt; am wondering how close the Hazarai could get to those&nbsp;<br>

&gt; kinds of sounds, if anybody knows.)&nbsp;<br>
&nbsp;<br>

you can make big swooshy phase/flange sounds with the SMM if you know how.&nbsp;<br>
&nbsp;<br>

It can also do analog delay type sounds (using the filter to make the repeats get darker).&nbsp;<br>
&nbsp;<br>

Don't know how the Ibanez sounds tho'.&nbsp;<br>
&nbsp;<br>

andy butler&nbsp;<br>
&nbsp;<br>

&gt; 
&gt; Aloha,&nbsp;<br>

&gt; Brad&nbsp;<br>

&gt; 
&gt; 
&gt;       Connect with friends from any web browser - no download required. Try the new Yahoo! Canada Messenger for the Web BETA at <a href="http://ca.messenger.yahoo.com/webmessengerpromo.php" target="_blank">http://ca.messenger.yahoo.com/webmessengerpromo.php</a>&nbsp;<br>

&gt; 
&gt; &nbsp;<br>


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From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 19:48:49 2008
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Date: Fri, 29 Feb 2008 14:48:42 -0500
From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
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Sorry folks.

Many of you will not particularly care.

But, I know several here are fans of this guy (Rypdal) as am I.

ECM just announced this new live concert duet disc and I got all excited.

He has been a big influence over the years and the very embodiment of what =
I'd like to be when I "grow up" musically.

Click: <http://www.ecmrecords.com/Catalogue/ECM/2000/2052.php?cat=3D&we_sta=
rt=3D0>

Hasta la bye bye,

tEd =C2=AE kiLLiAn

"Different is not always better, but better is always different"

Flux Aeterna: http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?p=
layListId=3D6378076=20

Also check out the BEMF 1 CDs at: http://www.boisemusicians.com/experimenta=
l/cd.htm

And my live duet CDwith Krispen Hartung at: http://cdbaby.com/cd/hartungkil=
lian

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.garageband.com/artist/ArsOcarina
http://www.netmusic.com/web/album.aspx?a_id=3DCBNM_17314
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://www.loopers-delight.com/cgi-bin/profiles.cgi?step=3Dview_profile&id=
=3D121197000042
http://www.guitarplayer.com/story.asp?storyCode=3D18131

Ted Killian's "Flux Aeterna" is also available at: Apple iTunes,
BuyMusic, Rhapsody, MusicMatch, MusicNet, DiscLogic, Napster,
AudioLunchbox, Lindows, QTRnote, Music4Cents, Etherstream,
RuleRadio, EMEPE3, Sony Connect, CatchMusic, Puretracks,
and Viztas. Yadda, yadda, yadda. Blah, blah, blah. So???

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 21:23:23 2008
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Date: Fri, 29 Feb 2008 13:17:41 -0800 (PST)
From: Tim Nelson <psychle62@yahoo.com>
Subject: Re: My RPM record
To: Loopers-Delight@loopers-delight.com
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--- highhorse@mhorse.com wrote:
> Anybody else crank out an [RPM] album?

Yup. I handed mine in in person on February 1st after
an all-night recording session...

<http://www.rpmchallenge.com/component/option,com_comprofiler/task,userProfile/Itemid,296/>

-t-

http://www.myspace.com/nimbletunes
http://cdbaby.com/all/timnelson
http://www.youtube.com/speleman62


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 21:34:15 2008
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Subject: Re: Upwards pitch shift (Was Re: qualities of reverb OT)
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scott hansen wrote:

> i've never seen early 80's vid of henry kaiser, but i have his early 
> 90's eclectic electric and his dvd: a bunch of guitar solos...and his 
> pitch shifting is an eventide unit (h3000something). and i have a # of 
> cds of his, and he uses it quite a bit.
> <http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ%20>

what you refer to is a Lexicon Pcm 42 which has a unique way to modulate 
the delay and a very thick, analog sound.
A kind or random modulation on the speed of the delayed signal.
The unique effect on the h3000 ( he used a 3500 extensively before 
passing to eclipse) is called... I don't remember but I think it can be 
described as a stutter.
This stutter is something eventide hasn't been able to put on their 
latest machines.

luca
www.unguitar.com




From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 21:35:43 2008
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Date: Fri, 29 Feb 2008 15:35:40 -0600
From: "Doug Cox" <uncledig@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: My RPM record
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	 <439892.46629.qm@web45111.mail.sp1.yahoo.com>
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FYI - the links that you guys are posting is the link to "view your
own profile", which won't work for anyone but you.

Try logging out and then viewing your profile - that's the link you want.

also, RPM needs a better website! :)

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 21:57:38 2008
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Date: Fri, 29 Feb 2008 15:50:20 -0600
From: Daryl Shawn <highhorse@mhorse.com>
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It's per-Month, not per-DAY...! Damned overachiever!

seriously, kudos (and to Dennis too)...let us know a public location 
where we can hear it.

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.c
> --- highhorse@mhorse.com wrote:
>   
>> Anybody else crank out an [RPM] album?
>>     
>
> Yup. I handed mine in in person on February 1st after
> an all-night recording session...
>
> <http://www.rpmchallenge.com/component/option,com_comprofiler/task,userProfile/Itemid,296/>
>
> -t-

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 22:25:08 2008
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To:  Loopers-Delight@loopers-delight.com
Subject: Re: Memory Man with Hazari
References: <605254.51334.qm@web33107.mail.mud.yahoo.com> <47C73352.7060401@tiscali.co.uk> <8CA491B79D46808-3DC-422@webmail-mf10.sysops.aol.com>
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mizuho@aol.com wrote:
> 
> 
> I found it very easy to wipe a loop.
> Hit the Bypass button and than the Tap/Record button.
> Its a wipe.

not quite, you have to hold down the Tap for more than 500mS,
otherwise the loop stays

> The little led even goes out to show the loop is gone.
> 
> 


Compare to the edp.
Just hit Record at any time and start making a new loop.

Imagine you're actually playing in a live situation,
it's essential to be able to re-record the loop seamlessly,
either to correct it, or to start a new section.

:-) enjoy your SMM tho', it's a real fun box

andy butler


From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 22:27:27 2008
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>lurk mode=OFF<
Lexicon PCM 42 was the go to loop box for me thru the 80s,90s and 00s-
dont use them anymore-but they  are the uniquest)?)-analogue sounding boxes around-thanks to gary hall and bob sellon for their input & expertise on the mods for those beautees.
>lurk mode=ON<
stan

-----Original Message-----
>From: Luca Formentini <luca@unguitar.com>
>Sent: Feb 29, 2008 5:00 PM
>To: Loopers-Delight@loopers-delight.com
>Subject: Re: Upwards pitch shift (Was Re: qualities of reverb OT)
>
>
>scott hansen wrote:
>
>> i've never seen early 80's vid of henry kaiser, but i have his early 
>> 90's eclectic electric and his dvd: a bunch of guitar solos...and his 
>> pitch shifting is an eventide unit (h3000something). and i have a # of 
>> cds of his, and he uses it quite a bit.
>> <http://us.rd.yahoo.com/evt=51733/*http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ%20>
>
>what you refer to is a Lexicon Pcm 42 which has a unique way to modulate 
>the delay and a very thick, analog sound.
>A kind or random modulation on the speed of the delayed signal.
>The unique effect on the h3000 ( he used a 3500 extensively before 
>passing to eclipse) is called... I don't remember but I think it can be 
>described as a stutter.
>This stutter is something eventide hasn't been able to put on their 
>latest machines.
>
>luca
>www.unguitar.com
>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 22:31:41 2008
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Date: Fri, 29 Feb 2008 17:31:40 -0500 (EST)
From: bradm <bradmcmail@yahoo.ca>
Subject: Re: Memory Man with Hazari
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--- andy butler <akbutler@tiscali.co.uk> wrote:
> Compare to the edp.

Forgive my ignorance: what do mean by the "edp"?

Aloha,
Brad


      Be smarter than spam. See how smart SpamGuard is at giving junk email the boot with the All-new Yahoo! Mail.  Click on Options in Mail and switch to New Mail today or register for free at http://mail.yahoo.ca 

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 22:44:33 2008
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Echoplex Digital Pro

..sorry, thought everyone knew

andy

bradm wrote:
> --- andy butler <akbutler@tiscali.co.uk> wrote:
>> Compare to the edp.
> 
> Forgive my ignorance: what do mean by the "edp"?
> 
> Aloha,
> Brad
> 
> 
>       Be smarter than spam. See how smart SpamGuard is at giving junk email the boot with the All-new Yahoo! Mail.  Click on Options in Mail and switch to New Mail today or register for free at http://mail.yahoo.ca 
> 
> 

From Loopers-Delight-request@loopers-delight.com  Fri Feb 29 23:00:26 2008
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Message-ID: <dec8f8e60802291500w7e04d965i87439e2a4b413eaf@mail.gmail.com>
Date: Fri, 29 Feb 2008 18:00:23 -0500
From: "Dennis Moser" <sinsofmachaut@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: My RPM record
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LOL, Tim! I had to wait until my performance on 20 February ...
otherwise I'd have done the same thing!

URL is on its' way ...

Dennis

On Fri, Feb 29, 2008 at 4:50 PM, Daryl Shawn <highhorse@mhorse.com> wrote:
> It's per-Month, not per-DAY...! Damned overachiever!
>
>  seriously, kudos (and to Dennis too)...let us know a public location
>  where we can hear it.
>
>
>  Daryl Shawn
>  www.swanwelder.com
>  www.chinapaintingmusic.c
>
>
> > --- highhorse@mhorse.com wrote:
>  >
>  >> Anybody else crank out an [RPM] album?
>  >>
>  >
>  > Yup. I handed mine in in person on February 1st after
>  > an all-night recording session...
>  >
>  > <http://www.rpmchallenge.com/component/option,com_comprofiler/task,userProfile/Itemid,296/>
>  >
>  > -t-
>
>

