issue20

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.

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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

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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

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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

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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

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