EMUSIC-L Digest Volume 56, Issue 20 This issue's topics: Address fo Lovely Music request (2 messages) I second Scott's query! Philip Jeck/Anatomic Dance Co. Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. ------------------------------------------------------------------------ Date: Tue, 14 Sep 1993 09:24:19 CDT From: Joseph Fosco Subject: Address fo Lovely Music request Hello, Could anyone give me the address for Lovely Music. Thank you, Joseph Fosco b38669@anlvm.ctd.anl.gov ------------------------------ Date: Tue, 14 Sep 1993 12:04:25 -0400 From: idealord Subject: Re: Address fo Lovely Music request Looking in Manhattan White Pages: 260 W. Broadway NY, NY Zip? (212) 941-8911 I talked to the lady that runs the place last year about sending a tape - she said, "Well, we probably won't do anything with it, but I'm interested in hearing it." Your mileage may vary. Jeff Harrington idealord@dorsai.dorsai.org ------------------------------ Date: Thu, 16 Sep 1993 18:42:47 -0700 From: Craig Meyer Subject: I second Scott's query! I'm glad Scott (lastname?) asked his question, becuase I think I'd like to know the same things he does. I, too, have been "working" with computers since before I could write in cursive, so that stuff isn't new to me. But music-making technologies are. Sure, I understand MIDI (channels, polyphony, out/in/thru, etc.), but the big stinker with MIDI is that you're stuck with the sounds that come with your Soundblaster/Ext. Keyboard/etc. Also, I KNOW that there are many more things one can do to sounds that my .WAV editor can NOT. It still puzzles me why all these advanced sound-manipulation functions (sampling, "envelope manipulation," etc.) are still done on separate pieces of proprietary hardware (costing thousands of bucks). Are PC's still not powerful enough to perform these manipulations from software? So here I am, perhaps much like the rest of you started: I listen to a bunch of albums from the likes of the Orb, Meat Beat Manifesto, Information Society, Azuma, Utah Saints, etc. and say: "Well I've got a computer, too! How do I DO that?!" Thanks for your time, CM ------------------------------ Date: Fri, 24 Sep 1993 17:05:07 +0000 From: Nick Rothwell Subject: Philip Jeck/Anatomic Dance Co. Yesterday evening, went to yet another contemporary dance piece, by Anatomic (Marisa Zanotti's new company). Live music, which is a refreshing change. And one of the impressive electronic dance sound scores I've heard for a long time. I talked to the guy afterwards. Name's Phillip Jeck. I've heard of him before, and seen the work he did with Marisa about six months ago. His material is basically live sound collage. Interesting choice of instruments. His main instruments are two ancient Dansette record players. As a professional musician, he demands specific technical facilities from them: the ability to play at 16 and 78rpm. He has a selection of old records which are modified by the application of small price stickers, to make them loop at predefined points, and he does live mixing and scratching to build layers and orchestrations around these fixed timbral segments. There's also a tape deck in there as well. Effects processing: yup, an analogue delay pedal, which he plays live to catch loops and sustain them. OK, so I'm not telling the whole story. He also uses a sampler: Casio SK-1. Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ End of the EMUSIC-L Digest ******************************