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Re: Dig if u will my research paper Chapter 3
Title: Re: Dig if u will my research paper Chapter 3
Thanks for that Richard,
I will correct this.
I remember you instructing me to look at the music of Daniel Lentz and I think Carl Stone, I didn't get a chance to look at that much of their music, I would be interested to know what else you thought I left out of my history. It was hard for me to include everything due to 10000word limit and also the fact that I was looking at this for the first time and I therefore had to learn everything which took a lot of time.
If it were a book of the history what other chapters should there be.
I would like very much for people to tell me what i left out as I am now extremely interested in this subject.
Talking to Jim Fulkerson about the contemporary classical side of Looping was really interesting and there is clearly a whole world of artists I haven't looked at. I hope I get to talk with him again as he is a really incredible guy, very funny too.
I almost wish i hadn't re-written my introduction to include the idea of 'genre' in Live-Looping and left it as a history. It has been almost like a thorn in my side, because I am really interested in the history, and most of my time has been spent talking about genre.
I still hope you write a book.
Geoff
on 4/6/03 4:33 am, Richard Zvonar at zvonar@zvonar.com wrote:
At 6:21 PM +0100 5/26/03, Geoff Smith wrote:
His piece Mescalin Mix was Riley's first attempts at live looping, "with the help of Ramon Sender, he made use of an Echoplex, a primitive electronic contraption allowing a sound to be repeated in an ever accumulating counterpoint against itself" 1
1 p98 Potter, Keith. Four Musical Minimalists (Cambridge: Cambridge University Press 2000)
At 8:14 PM +0100 5/27/03, Geoff Smith wrote:
No I didn't confirm to this, as the book is so recent and thorough I though it would be true.
I've just bought Potter's book and gone through the section on Mescalin Mix. The use of the two mono Wollensack decks is described as being used in creating early versions of the piece for Ann Halprin's dance company. A final polished version is described as being produced with Ramon Sender's help, and this is where the Echoplex is mentioned. In one of his e-mails to me, Ramon mentioned using an "Echoplex-type" device at the SF Conservatory, though he apparently used this to achieve reverberation effects.
So it seems probable to me that Terry did the layering for "Mescalin Mix" with the original Wollensacks and then added some reverb with Ramon's whatever-the-heck-it-was for some additional effects. I'll have to bring this up next time I see Ramon, but it's really a small detail in the present context.
