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From mcmahon@metalab.unc.edu Tue Jun 6 12:10:00 2000 -0400 Status: R X-Status: X-Keywords: Received: from listserv.american.edu (listserv.american.edu [147.9.238.200]) by luna.oit.unc.edu (8.9.3/8.9.3) with ESMTP id MAA16684 for ; Tue, 6 Jun 2000 12:10:34 -0400 (EDT) Received: from listserv (listserv.american.edu [147.9.238.200]) by listserv.american.edu (Switch-2.0.3/Switch-2.0.3) with ESMTP id e56G81346124 for ; Tue, 6 Jun 2000 12:08:02 -0400 Message-Id: <200006061608.e56G81346124@listserv.american.edu> Date: Tue, 6 Jun 2000 11:58:42 -0400 From: "L-Soft list server at LISTSERV.AMERICAN.EDU (1.8d)" Subject: File: "EMUSIC-L LOG0002D" To: mcmahon@METALAB.UNC.EDU Content-Type: text Content-Length: 40043 ========================================================================= Date: Tue, 22 Feb 2000 10:40:14 -0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paulo Mouat Subject: Re: Ye Gods and Little Boxes MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1252" > From: Nick Rothwell [mailto:nick@CASSIEL.COM] > > I don't know if it would do for a full-on emusic gig, but the full modular > and some more effects processing would probably be fine. You still have the problem of polyphony, which grosso modo is 4x that of the MicroModular (I don't feel that is enough) and it horrendously gets silent for a brief moment across all the DSPs whenever you send it a program change -- something that has to do with the dynamic organization of the modules in memory. I heard about an AirSculpture gig in which all three members were sitting on stage, each with their own Modular keyboard on their laps. I believe there was no additional gear. Must have been fun to attend and listen. -- __|__ ___\_/___ ___ Paulo Mouat, Home: mouat@mail.telepac.pt |___| Work, preferred: mouat@markdata.pt |___| http://www.geocities.com/p_mouat ========================================================================= Date: Tue, 22 Feb 2000 15:43:41 +0000 Reply-To: david@resonant.demon.co.uk Sender: Electronic Music Discussion List From: david stevens Organization: resonant Subject: Re: Ye Gods and Little Boxes MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hi Nick, >Quick question to people here who've seen live performances by any >kind of notional electronic act over the last six months: how many >were big and how many were small? at the SAN evening performance a couple of weeks ago you would have seen - me: PB G3 (running max/msp); kurzweil expression mate (midi strip), Peavey 1600x; Folio mixer for mic inputs to PB; compressor between mixer and PB; Kaos pad (love it!); di box (for feeding the PB to the PA mixer), and one or two other bits & pieces. and wall-warts for all of this. the psu's were the heaviest thing out of all that! this all went into a large sports bag, and a computer shoulder bag. the psu's went into a back pack. i went up on the train, but i don't think that i'd want to carry that much weight again. And the sports bag would be useless for flying - too flimsy. Jo Hyde: Jo had a couple of portable cd players, a Peavey 1600, and a PB running LiSa. nice lightweight setup! Then there was Clack! and Extractor, both of whom had quite a lot of gear. Clack! is much more visual - theremins, singer, dancers, Lol Coxhill, and a guy with a faux guitar made up of fx pedals and a Kaos pad. very interesting to watch. Extractor had lots of homemade controllers, but you couldn't really see them from the audience's point of view. So Jo was very portable, I was portable but risking back injury, and the others needed transits. But ofcourse (?) the guys with the transits were more visually interesting (a friend said to me that it looked like i was writing home - i use a wacom pad instead of a mouse). aside from the power supplies, which are a real PIA, the heavy stuff is all of the performance interfacing gear, which i suppose could be eliminated, but then there's be no visual interest whatsoever (aside from the effect that just using a mouse would have on the experience of the performer). i guess that the absolute minimum would be the PB, Peavey, and the di box. (and the backup discs incase the computer crashes). david ========================================================================= Date: Tue, 22 Feb 2000 11:05:24 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay Subject: Re: Ye Gods and Little Boxes In-Reply-To: <61E42105D005D211BD3C004F4D001233438638@EXCHANGE> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >> From: Nick Rothwell [mailto:nick@CASSIEL.COM] >> >> I don't know if it would do for a full-on emusic gig, but the full modular > >> and some more effects processing would probably be fine. > >You still have the problem of polyphony, which grosso modo is 4x that of the >MicroModular (I don't feel that is enough) and it horrendously gets silent >for >a brief moment across all the DSPs whenever you send it a program change -- >something that has to do with the dynamic organization of the modules in >memory. > >I heard about an AirSculpture gig in which all three members were sitting on >stage, each with their own Modular keyboard on their laps. I believe there >was >no additional gear. Must have been fun to attend and listen. They all had Nords but there was a ton of additional gear. AS aren't quite to that stage of purism. Great band, though. mike -- I've got my first real piece of Ensoniq kit, if you count the Fizmo as real. It's actually too quirky even for me. It seems to be ideally suited for alien porno soundtracks or something like that. (e. hallgrimsson) ========================================================================== Mike Metlay * ATOMIC CITY * P.O. Box 17083 * Boulder, CO * 80308-0083 * USA + atomic@tesser.com * 800-924-ATOM * http://www.atomiccity.com + ========================================================================= Date: Tue, 22 Feb 2000 11:04:28 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay Subject: Re: Ye Gods and Little Boxes In-Reply-To: <0504018E9DCAD1119FE900A0C9A39AF801B1FD13@anaconda.riverside.csiro.au> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >> Quick question to people here who've seen live performances by any >> kind of notional electronic act over the last six months: how many >> were big and how many were small? >> >In my limited experience, it's been getting smaller for years, apart from a >blip a few years back when a glut of low-priced machines inspired the "why >buy one when I can afford six?" mentality. In a band setting, this >reduction is offset by the extra gear which the rest of the band now take >with them, having moved from stomp box to rackmount. Same size truck, same >number of boxes. There is one notable exception to this, though: the retro-EM movement now gaining some popularity in Europe. There, it's all modular synths and Mellotrons, and the live rigs are getting really huge again. >> ...... Looked damned impressive, though..... >> .... It looks impressive.... > >It does, doesn't it? I often wonder if the audience are conditioned by the >amount of gear they see on stage. Anecdotal evidence indicates that they >are: I've heard of at least one performer who chucks a 14 unit rack in the >back of the car and places it prominently on stage where it glows and blinks >impressively and does bugger all else. Her view is that the audience take >her work more seriously this way. Maybe there's a market for lightweight >collapsible dummy rackmounts packed with LEDs and LCDs? As is ever the case, if you name a market someone will exploit it. I refer you, with no small amount of glee, to Funk Logic (www.funklogic.com I believe), makers of dummy rack gear to fill empty rack spaces. They make beautiful stuff, and Derek Van Choice is always open to new ideas. If he thinks there's a real market for fake rack synths, he'll build them. His current devices have glowing fake VU meters, and he's talking about blinky-LED kits for the near future. >> Downside: audiences which expect to hear album material in live shows >> are perhaps going to be disappointed. Audiences which go to a gig and >> then buy the album are perhaps going to be disappointed. At this stage >> I can't see any of LISTEN/MOVE ever making it out onto a stage again - >> a lot of it requires heavy bits of ZERO-X which I don't intend to lug >> around. Is this a problem? If so, for the artist or the audience? >> >I've known performers in a similar quandary who play the album through the >PA before and after the performance. Depends on the situation of course, >but the audience do get to experience both facets of your music. I think that in general the audience can be trained as to what to expect or not. We're not talking about a rock audience here, in most cases--I've found that when there's a lot of melodic hook stuff, the audience has a harder time stretching to reach new arrangements or entirely new stuff, but when working in (cough, cough) pure sound, people arrive with open minds and process what you throw at them. That's why people walk out of a Mark Shreeve concert saying, "I didn't like what he did with 'Assassin' on this show" whereas they stumble out of a Steve Roach concert intoning, "KEwwwwlllllll...." For all their shitty electro-sub-jazz of today, Tangerine Dream really did have it right in that they had live stuff that may or may not have dived into recognizable tracks from their albums at any moment. The audience stayed loose and everyone had a good time. mike -- I've got my first real piece of Ensoniq kit, if you count the Fizmo as real. It's actually too quirky even for me. It seems to be ideally suited for alien porno soundtracks or something like that. (e. hallgrimsson) ========================================================================== Mike Metlay * ATOMIC CITY * P.O. Box 17083 * Boulder, CO * 80308-0083 * USA + atomic@tesser.com * 800-924-ATOM * http://www.atomiccity.com + ========================================================================= Date: Tue, 22 Feb 2000 20:07:45 -0000 Reply-To: fmr@mail.telepac.pt Sender: Electronic Music Discussion List From: Fernando Manuel Rodrigues Subject: Re: copyright issues In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I was reading this and wondering - if it is illegal (and, in some sort, I have to agree with Mike way of thinking, wether I may object to the fact that a recording of a flute playing a C for two seconds may be considered an "intellectual property" - but then, why not doing it ourselves?) then what shall we say about sampling the sounds of a Minimoog or of a Prophet 5? Or, for that matter, the sounds of a Kurzweil, or Synclavier, or the now fiering MicroModular or whatever we may sample in the real world? These are so much synths as is the Cs2X. Their sounds are also intended to be played into recordings, not to make sampled instruments. Also, shall we pay royalties to the owner of a spring if we record it and use it in our next album? And what about the waves of our seashore? Since they are territorial waters of our country, is the State elligible to charge for a recording of their sounds? Anyway, I think that all this is going out of control, and we may end paralized in our imagination and creativity by all kinds of fears. Seems like the scenary George Orwell imagined when he wrote about the Big Brother... I remember that Bach did a lot of transcriptions of works by other musicians, as did Liszt, and so many others - I don't remember of ever reading about anybody paying royalties to the others because of this. And, in some sense, they were "sampling". But I also saw a lot of ripping in the last years, mainly by the so called DJs, rappers, etc. I'm not sure how to classify that, but I don't think that's fair (even if it is legal). Doing a drum machine out with samples of a CS1X may not be legal - but how would Yamaha prove that the samples used are theirs? Do they have watermarks? If so, recording them through analog gear will cancel that. Besides, as soon as you record something using analog gear, it is no longer the same thing, even if it is very close to the original - and in court they would have to prove "beyond any reasonal doubt" that the samples were their own (showing spectral analysys would prove that the samples, even if close, were not exactly the same). I'm not trying to persuade anyone to do something illegal, I'm just thinking out loud... perhaps these thoughts are stupid, but I am geting tired of all this "legal" bullshit. Seems like everybody is trying to ripp money from somebody, using any kind of arguments to do that. And, after reading what Gibson did to the guy who built the Ob_MX, I am feeling that, in the end, the powerful are able to break the laws, because they can afford good lawiers, and endless courtlaw battles - even if they are the ones doing the illegal stuff. And the weak are always F... that way, even if they are right, and are claiming for justice. The examples are jumping on us everyday. Fernando > >I thought the whole point of purchasing samples was so you could use them > >in your own commercial works?! What's the point of getting them if you > >can't ever sell what you create with them. > > There's a distinction between using them in your own music and using them > in a device that you sell (or give) to people so that they can make music. > In the former case, they're the vendor and you're the end user. You're > licensing their samples to use in your product when you buy the sample > player or library. And by the way, if you think that this licensing NEVER > costs anything extra after you buy the discs, you should talk to the legal > folks at record labels and radio stations that use professionally made > sound bed libraries. I wonder how much longer the term "needle drop" will > make sense to DJs? I'm not aware of anyone charging license fees for using > a sample player or hardware device, but for some sound libraries the buyer > is required to pay royalties for tracks using the sounds that get > broadcast > or sold. But again, that's a subset of "using the material for an end user > product, as an end user." This situation is different. > > What the original poster was talking about was building a drum machine of > some sort that used sounds from the CS1x: stealing sounds from a > music-making device and putting them in another music-making device. He is > benefiting from the R&D that Yamaha did to record those sounds and not > paying them for the use of what they created, and that's illegal. And > that's true regardless of what he ends up doing with his product, either > giving it away or selling it. He doesn't have to make money off it for > Yamaha to demonstrate damages against them. If you think that there's > automatically no damage done if the product is given away rather > than sold, > just ask Netscape and Qualcomm what they think about how harmless > it was to > their bottom line when Microsoft started giving away a Web browser and > email client program for free. > > I think that making your own drum machine is a great idea. I think that > obtaining sounds that you can legally use in it (or better yet, creating > your own, which is what the ReBirth mod people do) is also a great idea. > Sorry to beat on this, but there's a lot of misinformation masquerading as > "facts" in this area, and we regularly hear about people doing really > stupid, illegal stuff on the ostrich defense ("If we didn't know it was > wrong it must be okay, right?"). > > mike > > -- > I've got my first real piece of Ensoniq kit, if you count the > Fizmo as real. > It's actually too quirky even for me. It seems to be ideally suited for > alien porno soundtracks or something like that. (e. > hallgrimsson) > ================================================================== > ========= > Mike Metlay * ATOMIC CITY * P.O. Box 17083 * Boulder, CO * > 80308-0083 * USA > + atomic@tesser.com * 800-924-ATOM * http://www.atomiccity.com + ========================================================================= Date: Tue, 22 Feb 2000 21:51:43 -0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Ye Gods and Little Boxes In-Reply-To: <38B2AEAD.D81DAFA3@resonant.demon.co.uk> (message from david stevens on Tue, 22 Feb 2000 15:43:41 +0000) Off into SYNTH-L territory again, sorry, Doctor Mod... > me: PB G3 (running max/msp); kurzweil expression mate (midi strip), > Peavey 1600x; Folio mixer for mic inputs to PB; compressor between mixer > and PB; Kaos pad (love it!); di box (for feeding the PB to the PA > mixer), and one or two other bits & pieces. and wall-warts for all of > this. That's about right. I've got the Folio PowerPad and a pair of wee JBL speakers which are luggable and work fine for workshops and what we refer to in the dance performance trade as "showings". I know a couple of wacky Viennese composers who use PB G3's heavily - they did an ICA gig with them last weekend - but I'm really not taken with doing computer audio at all at the moment, not even in the studio. Don't know why - it just feels uncomfortable and stressful in some primal sense, even though I've not played with it much. (Used ProTools a couple of times, and spent a week on an Avid video suite, which is enough digital media angst to last anyone a lifetime.) > Jo Hyde: Jo had a couple of portable cd players, a Peavey 1600, and a > PB running LiSa. nice lightweight setup! I see a lot of stuff with portable CD players these days. Makes sense: burn some CD-R's beforehand, throw the stuff into FX processors. I have a portable MiniDisc and might pick up a second one before Istanbul, as a sampler/audio bouncing system of sorts... > Then there was Clack! and Extractor, both of whom had quite a lot of > gear. Clack! I know. Extractor I don't, but there's an outfit called Tractor (from Middlesex Uni.) - one of the guys has a custom-built fader box with lots of rotating bits apparently made of Meccano, the other has a Wacom. > Clack! is much more visual - theremins, singer, dancers, Lol > Coxhill, and a guy with a faux guitar made up of fx pedals and a Kaos > pad. very interesting to watch. They're a lovely act, and show just what academic emusic performers (or emusic folks in general) should be thinking about when bringing stuff to the stage. The guy with the FX pedals (Knut) usually uses a glove fitted with contact mics, and goes around stroking things. Sophia dances with a wacky improvisational style that fits well with the music - avant-garde which is just plain fun. I've seen then a couple of times: it's an act which just makes your brain melt. (If you want *really* daft, you should see John Otway playing a theremin...) -- Nick Rothwell Cassiel.com Limited nick@cassiel.com www.cassiel.com systems - composition - installation - performance ========================================================================= Date: Tue, 22 Feb 2000 20:33:19 -0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Ye Gods and Little Boxes In-Reply-To: <0504018E9DCAD1119FE900A0C9A39AF801B1FD13@anaconda.riverside.csiro.au> (clive.mcfarland@MOLSCI.CSIRO.AU) > In a band setting, this > reduction is offset by the extra gear which the rest of the band now take > with them, having moved from stomp box to rackmount. Same size truck, same > number of boxes. Then again, most of the emusicians I know around here just use stomp-boxes anyway. > I've heard of at least one performer who chucks a 14 unit rack in the > back of the car and places it prominently on stage where it glows and blinks > impressively and does bugger all else. Her view is that the audience take > her work more seriously this way. I think I'll start a side-line in custom-built cardboard modulars. > I've known performers in a similar quandary who play the album through the > PA before and after the performance. ...or play the album and then kick off the live set in a slow cross-fade from recording to performance. This works better than one would expect. > > By the way: does anyone know how good the electricity supplies are > > around Ankara? > You could run the entire rig off a single torch battery, surely? Yes I could. But not for very long... -- Nick Rothwell Cassiel.com Limited nick@cassiel.com www.cassiel.com systems - composition - installation - performance ========================================================================= Date: Tue, 22 Feb 2000 15:18:05 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tim Walters Subject: Re: Ye Gods and Little Boxes Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii I heartily concur with Nick on both the importance of portability and the excellence of the Nord MicroModular. I started out as a recorder player, and still sing with an a cappella group, and have never been comfortable with massive setups. It seemed that my whole time in Circular Firing Squad I was trying to figure out how little gear I could bring and still have enough options to be a responsive and responsible improvisor. One thing I discovered was that figuring out a better organization for the system can be just as valuable as reducing the gear load--I got my setup time down from thirty minutes to fifteen without pulling any gear, and that made a really big difference. In the book CASSETTE MYTHOS, which I highly recommend both as a document of a movement and an inspirational text, a gentleman known to all but his parents as "tENTATIVELY, a cONVENIENCE" (actually, his friends call him "Tent") describes his electronic music busking system, which is battery-powered, fits on a standard handcart, is made entirely from cheap gear, and unfolds into a sophisticated rig with lots of sonic and theatrical possibilities. Likewise, John Bischoff works wonders with just a PowerBook and a TX81Z. If I ever start playing out again, I'm going to take these guys as my models. And the Nord MM, which has to have the highest power/size ratio of any synthesizer ever made, will be quite useful in such a context. ========================================================================= Date: Wed, 23 Feb 2000 10:59:18 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Ye Gods and Little Boxes In-Reply-To: <38B2AEAD.D81DAFA3@resonant.demon.co.uk> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" David Stevens wrote: >me: PB G3 (running max/msp); kurzweil expression mate (midi strip), >Peavey 1600x; Folio mixer for mic inputs to PB; compressor between mixer >and PB; Kaos pad (love it!); di box (for feeding the PB to the PA >mixer), and one or two other bits & pieces. and wall-warts for all of >this. the psu's were the heaviest thing out of all that! Slightly OT: I'm accustomed to lugging a 6U rack and a couple of crates just so I have enough compressors and gates and mic stands, a reasonable reverb, and some reasonable mics to use at under-equipped live music venues! And let me tell you: an SPX, a couple of Behringers, an Aphex and an old Valley Dynamite cannot be balanced on the head of a pin. But, seriously, I've been contemplating a move into the PPC world and I thought it would be very nice to run something like a MOTU system on a portable rig. Problem: AFAIK, Magma is the only company to make a PCI expansion chassis for the PB and the adaptor only works on Wallstreet PBs, not Lombards (so one is limited by CPU speed -- mind you, compared to my hot-rodded IIci...!). Also, there's no Australian distributor and they're damned expensive, espcially at the current exchange rate. So what is one to do!? Looks as though I'll have to settle for a G3 or G4 rackmounted and carry a bigger rack (or 2 racks). Clive McFarland wrote: >I've heard of at least one performer who chucks a 14 unit rack in the >back of the car and places it prominently on stage where it glows and blinks >impressively and does bugger all else. Her view is that the audience take >her work more seriously this way. I reckon my rig would look better with two GL2s! (That's a rackmountable mixer, BTW.) Regards, David Rodger: auricle@alphalink.com.au Audio Engineer, RLSS Trainer, Writing & Research http://www.alphalink.com.au/~auricle http://www.alphalink.com.au/~adzohu ======================================================================== Keep e-mail simple: just say NO to styled text, HTML, ms-tnef, .vcf, .url ========================================================================= Date: Tue, 22 Feb 2000 22:42:28 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Fox Subject: Re: [goldtri] Ye Gods and Little Boxes Comments: To: goldtri@aracnet.com, gearhead@onelist.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit To where should I reply? I'm on all four lists! Egad, just try to keep track of who responds where... -----Original Message----- From: Nick Rothwell To: emusic-l@listserv.american.edu ; gearhead@onelist.com ; goldtri@aracnet.com Date: Monday, February 21, 2000 5:55 PM Subject: [goldtri] Ye Gods and Little Boxes >Quick question to people here who've seen live performances by any >kind of notional electronic act over the last six months: how many >were big and how many were small? > >(By "big" I mean: more gear than would fit into an average-size >car. By "small" I mean: fits into a rucksack.) At the Gathering concert series in Philadelphia, I'd say that most acts are "big" and a small minority are "medium" in size. None are "small." >Downside: audiences which expect to hear album material in live shows >are perhaps going to be disappointed. Audiences which go to a gig and >then buy the album are perhaps going to be disappointed. At this stage >I can't see any of LISTEN/MOVE ever making it out onto a stage again - >a lot of it requires heavy bits of ZERO-X which I don't intend to lug >around. Is this a problem? If so, for the artist or the audience? If it is a problem for the audience, then it will be a problem for the artist. The company which employs me stresses an "obsession with customer satisfaction." That's what keeps the business going - satisfied customers. In your case, the audience members are the customers - they must be pleased and delighted if the artist wishes their continued support. If they go to a gig expecting to hear Listen/Move, you damn well better play it or risk disappointing them and risking reduce levels of support. If the customer hears your music live and then buys Listen/Move, will they be getting what they expect? If not, you risk loss of support. That assumes the customer can distinguish between your live and studio material... >The unit [Nord MicroModular] is plugged into a >Korg Kaoss pad, ..., and *that* is plugged into my old Lexicon >LXP-5 for pitch-shifting and reverb. Add a fader-box and that's >about it: (About it? Then what else is there?) It boggles the mind that a Kaoss and a Peavey (?) fader box are the only controller MIDI devices and the Nord is the only sound generating device. I *MUST* see a video! If Alfa Centauri, E-Live, or Jodrell Bank ask you to play in 2001, then THAT'S where I will go!! Bill billfox@fast.net http://wdiyfm.org ============================================================ Host of EMUSIC, an electronic, ambient, and space music show. Thursdays at 11pm on WDIY 88.1 FM, Allentown and Bethlehem and 93.9 FM in Easton and Phillipsburg. Email me if you wish to submit music for airplay consideration. ========================================================================= Date: Wed, 23 Feb 2000 18:51:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Mooney Subject: THE SHOUT MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This blew me away! Rented a film called The Shout. The story is typical early 70's excess. The cool part is that the character played by John Hurt is a composer of electronic music--Lots of fascinating shots of him making sounds in his state-of-the-art studio. Worth a look. -- David Mooney dmooney@city-net.com http://www.city-net.com/~moko/ "Opaque melodies that would bug most people" (Frank Zappa) The Rhythmicon: http://www.city-net.com/~moko/rhome.html ========================================================================= Date: Wed, 23 Feb 2000 19:19:47 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Mooney Subject: Re: Ye Gods and Little Boxes MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "McFarland, Clive (MOLSCI, Riverside)" wrote: > > Quick question to people here who've seen live performances by any > > kind of notional electronic act over the last six months: how many > > were big and how many were small? > > > In my limited experience, it's been getting smaller for years, Same here. Latest I saw was Kam Fong as Chen Ho, a duo from LA. Not a lot of gear and an emphasis on low tech. For example all the words were sung and spoken through a bull horn clamped to a mic stand. -- David Mooney dmooney@city-net.com http://www.city-net.com/~moko/ "Opaque melodies that would bug most people" (Frank Zappa) The Rhythmicon: http://www.city-net.com/~moko/rhome.html ========================================================================= Date: Wed, 23 Feb 2000 21:23:41 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: jacky schreiber Subject: Re: Ye Gods and Little Boxes MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit and my friend Stefano Gramitto, performs with a 3 (or 4) octave Roland controller (don't remember the model, it's kind of white) and a Yamaha Fs1r, that's it. jacky schreiber jackysch@ven.net http://www.geocities.com/SoHo/1094 icq: 11578739 -----Mensaje original----- De: David Mooney Para: EMUSIC-L@LISTSERV.AMERICAN.EDU Fecha: miércoles, 23 de febrero de 2000 21:20 Asunto: Re: Ye Gods and Little Boxes >"McFarland, Clive (MOLSCI, Riverside)" wrote: > >> > Quick question to people here who've seen live performances by any >> > kind of notional electronic act over the last six months: how many >> > were big and how many were small? >> > >> In my limited experience, it's been getting smaller for years, > >Same here. Latest I saw was Kam Fong as Chen Ho, a duo from LA. Not a lot of >gear and an emphasis on low tech. For example all the words were sung and spoken >through a bull horn clamped to a mic stand. > > >-- >David Mooney >dmooney@city-net.com >http://www.city-net.com/~moko/ > >"Opaque melodies that would bug most people" (Frank Zappa) > >The Rhythmicon: http://www.city-net.com/~moko/rhome.html > ========================================================================= Date: Wed, 23 Feb 2000 18:02:04 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ric Carter Subject: Re: THE SHOUT MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "David Mooney" > This blew me away! Rented a film called The Shout. The story is > typical early 70's excess. The cool part is that the character > played by John Hurt is a composer of electronic music--Lots of > fascinating shots of him making sounds in his state-of-the-art > studio. Worth a look. Yeah - as I recall, a nice studio in a great old venue [a church, wasn't it?] but composer Hurt was portrayed as an effete wimp. Hey, some of us music guys be MANLY, eh? ========================================================================= Date: Thu, 24 Feb 2000 08:41:06 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robert Edgar Subject: Re: THE SHOUT MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Hey, some of us music guys be MANLY, eh? Didja get those samples?? ========================================================================= Date: Thu, 24 Feb 2000 22:17:40 -0000 Reply-To: fmr@mail.telepac.pt Sender: Electronic Music Discussion List From: Fernando Manuel Rodrigues Subject: Re: THE SHOUT In-Reply-To: <38B47281.576EFDFE@city-net.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I remember watching this movie twice in the TV, and I also was fascinated by his studio, and hist technicques (very avan-garde music and way of working). Later on, when I read about the EMS London, Peter Zinovieff and so on, I couldn't help thinking that the character on the "The Shout" could have been inspired by Zinovieff and his studio. > -----Original Message----- > From: Electronic Music Discussion List > [mailto:EMUSIC-L@listserv.american.edu]On Behalf Of David Mooney > Sent: quarta-feira, 23 de Fevereiro de 2000 23:51 > To: EMUSIC-L@LISTSERV.AMERICAN.EDU > Subject: THE SHOUT > > > This blew me away! Rented a film called The Shout. The story is typical > early 70's excess. The cool part is that the character played by John > Hurt is a composer of electronic music--Lots of fascinating shots of him > making sounds in his state-of-the-art studio. Worth a look. > > -- > David Mooney > dmooney@city-net.com > http://www.city-net.com/~moko/ > > "Opaque melodies that would bug most people" (Frank Zappa) > > The Rhythmicon: http://www.city-net.com/~moko/rhome.html ========================================================================= Date: Sun, 27 Feb 2000 14:53:49 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay Subject: Re: Ye Gods and Little Boxes In-Reply-To: <38B47923.666E9465@city-net.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >"McFarland, Clive (MOLSCI, Riverside)" wrote: > >> > Quick question to people here who've seen live performances by any >> > kind of notional electronic act over the last six months: how many >> > were big and how many were small? >> > >> In my limited experience, it's been getting smaller for years, > >Same here. Latest I saw was Kam Fong as Chen Ho, a duo from LA. Not a lot of You know, the slice of the human race that would understand this band name is shrinking rapidly... and that's a good thing. BTW, I bet it's Chin Ho. mike -- Let's see if you remember this one... (g. middleton) ========================================================================== Mike Metlay * ATOMIC CITY * P.O. Box 17083 * Boulder, CO * 80308-0083 * USA + atomic@tesser.com * 800-924-ATOM * http://www.atomiccity.com + ========================================================================= Date: Tue, 29 Feb 2000 01:09:12 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Richard Sims Subject: [OT] Ensemble Royal: Laborintus MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear Fellow Emusicians, Its not completely OT actually. You are all welcome to come to the second project in the series Ensemble Royal. This includes the seminal (and in my opinion severely underperformed work) of the mid 1960's Laborintus II of Berio. I look forward to seeing you there.: Ensemble Royal - The New Music Ensemble of Koninklijk Conservatorium Den Haag conductor Richard Sims with Kristina Fuchs, Cora Schmeiser, Inge Schneider (sopranos) Liesbeth v/d Loop (mezzo soprano) Scott Blick (narrator) in: Luciano Berio - Laborintus II (1965) for three sopranos, narrator, eight actors, large ensemble and tape Joseph Schwantner - Sparrows (1975) for soprano and small emsemble Riccardo Massari - Royal Tales (1999) (world premiere) Charlie Meyer - d'outre mer (2000) (for mezzo-soprano and ensemble) (world premiere) Tuesday March 7, 2000 20:30 - Studio III Koninklijk Conservatorium, Studio I Juliana van Stoberglaan 1, Den Haag (entree gratis) Wednesday March 8, 2000 20:30 - Posthoornkerk, Harlemmer Houttunuinen 47, Amsterdam (entree gratis) Best wishes, Ric ========================================================================= Date: Mon, 28 Feb 2000 22:25:59 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Mooney Subject: Re: Ye Gods and Little Boxes MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Mike Metlay wrote: > >"McFarland, Clive (MOLSCI, Riverside)" wrote: > > > >> > Quick question to people here who've seen live performances by any > >> > kind of notional electronic act over the last six months: how many > >> > were big and how many were small? > >> > > >> In my limited experience, it's been getting smaller for years, > > > >Same here. Latest I saw was Kam Fong as Chen Ho, a duo from LA. Not a lot of > > You know, the slice of the human race that would understand this band name > is shrinking rapidly... and that's a good thing. BTW, I bet it's Chin Ho. > You're right. Boogum, Danno, spelling error one! -- David Mooney dmooney@city-net.com http://www.city-net.com/~moko/ "Opaque melodies that would bug most people" (Frank Zappa) The Rhythmicon: http://www.city-net.com/~moko/rhome.html