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David Stagner
Age:	31
Location:	508 5th St #16, Coralville, IA 52241
Phone Number:	319-337-8269
Email Address(es):	dstagner@icarus.net
Website URL(s):	http://www.leepfrog.com/~dstagner
Instruments:	Yamaha acoustic guitar with Fishman transducer and Crown internal mic Aria Pro II electric guitar, Rat II distortion, BBE preamp Sony Discman CD player
Looping Gear:	Lexicon JamMan with 8 secs memory Lexicon Vortex with expression pedal DeltaLabs Echotron with 4096ms delay, infinite repeat, feedback control Homemade 4-track mixer Sound sources go into the mixer. The Echotron is in the mixer's mono effects loop. Mixer outs 1 and 2 feed the Vortex. Vortex outputs come back into the mixer. Mixer outs 3 and 4 are split and feed the JamMan and a stereo line mixer. The JamMan's outputs also feed the stereo line mixer. Line mixer output is monitored on headphones, home stereo equipment, or recording equipment (Tascam PortaStudio or Sony stereo VCR for mastering).
Influences:	Looping: Robert Fripp, Brian Eno, David Torn, Roger Miller (Maximum Electric Piano, not 'King of the Road' :), Bill Frisell, Adrian Belew, Henry Kaiser, Terminator X (Public Enemy). Guitar: Robert Fripp, Jimi Hendrix, Richard Thompson, Sonic Youth, Michael Hedges, David Torn, John Renbourn, Marc Ribot, Steve Howe, Henry Kaiser, Adrian Belew, Frank Zappa, Sonny Sharrock, Lou Reed/Velvet Underground Non-guitar non-looping music Carl Stalling, Charles Ives, Conlon Nancarrow, Dr Demento, spy music, Ornette Coleman (harmolodic), Cecil Taylor and other free jazz, Celtic folk music, Indian classical, Balinese gamelan music, African pop, 'filk' music. Non-musical artistic: William Burroughs, William Gibson, cartoons (especially Warner Bros), Star Trek, existential theatre
Musical Style:	Escape the clutches of Western harmony! Use the guitar and looping devices to build dense clusters of notes and tones. Actually, most of my music is unaccompanied acoustic guitar. I prefer free or slightly structured inprovisation to 'songs'. I want rules and guidelines to restrain the music, not composition, if you see the difference. The acoustic guitar, freed of standard tuning, is remarkably flexible for this. Looping gives me two benefits - first, it increases the potential note density, and second, it helps me set up musical environments that are not completely under my control. It's just another way of setting up rules for improvisational environments.

The best looping music I ever made required no involvement from me beyond the initial setup. I tuned an electric guitar to a highly resonant tuning with octave and fifth relationships. It went into a distortion pedal, then a Digitech 2 Second Delay/Flanger/Chorus with a noticable short delay (about 100-250ms) and slow/wide sweep (for a pitch wobble), then into an Electro-Harmonix 16 Second Delay (which I sold and will regret for the rest of my life) set to about 4 secs delay with high feedback. This all fed into a Fender tube amp turned up rather loud. I would lean the guitar against the side of the amp and give it a little tap. With the volume and distortion, this was enough to start it feeding back. But the Digitech-induced wobble and echoes and the long loop destabilized the feedback, so it tended to jump around from string to string, harmonic to harmonic. This melody of sorts got looped and fed back. Soon, there was a rich bed of harmonically related notes and noise, hundreds of echoes from the last minute or so of music playing at once. It was like an chaos orchestra. Of course, it was also really loud, so I'd usually leave the amp in the basement, and go upstairs to listen to it for an hour or so. I really wish I had some tapes now.

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