Free concert in NYC 4/30 Straylight and Dave Gamper

Vanguard Visions @ Cspace

presents

STRAYLIGHT
Jason Finkelman, Charles Cohen, Geoff Gersh

with guest
David Gamper


Thursday, April 30th
7:30 pm

FREE.

@
Cspace
CITICORP ATRIUM
153 East 53rd (between Lex and Third Aves.)
NYC
Subway: E or 6


STRAYLIGHT Ambient, Avant Synthesis. This electro acoustic
improvisational trio features JASON FINKELMAN on percussion, GEOFF GERSH on
electric guitar and CHARLES COHEN on analog Buchla Easel. An unknown
adventure awaits as Straylight embarks on a musical journey - sounds evoke
images of rain forests, lands in urban jungles and Moroccan caravans
crossing Tottori sands.

Special guest DAVID GAMPER is a Sound Shifter - his electronic wizardry
transforms sound in remarkable ways. He is a member of The Deep Listening
Band which has toured the world experimenting with sound - from Tokyo
Panasonic National Hall with over 700 loudspeakers - to a two million
gallon cistern near Seattle.


There are also two installations: The Wish Machine by Chrysanne Stathacos &
Reconstructions: The Video Image Outside of Time by Van McElwee.


VANGUARD VISIONS is a not for profit corporation created to provide wider
audiences, new venues and independent networks for an artistic vanguard
exploring and defining multimedia in the performing and installation arts.
Vanguard Visions enables artists to move their work out of the margins and
gain access to a broader, more varied public.

LAUREN AMAZEEN, Executive Producer, Vanguard Visions @ Cspace

-------------------------------
John Maxwell Hobbs
jmax@artswire.org
http://www.artswire.org/~jmax

Web Phases - an interactive, web-based composition
http://www.artswire.org/~jmax/phaseframe.html

mr88cet@texas.net (Gary Morrison) writes:

> >In the June 98 issue of Guitar Player, on p86, there's a huge ad for
> >guitars using the new Buzz Feiten system for intonation. What makes me a
> >bit ill is 2 things: one, as far as I can tell, after playing guitar for
> >33 years, if the guitar keeps the same 12 note/octave eq temp
> >arrangement,

> I guess I'll ask the obvious question: What aspects of intonation does
> the Buzz Feiten system address if not microtonality? Is its purpose
> greater accuracy to 12TET (in the spirit of moveable bridges and such)?

I, too, am curious about the system. With what little I understand
of such things at the moment, and from the scanty info that I've
seen in the mags, part of it sounds to me like a sort of retrofitted
string compensation, like Mark Rankin describes (he calls it Gilbert
Scaling in the instruction sheet for the removable fingerboard) and
that I've seen mentioned in the LMI catalog.

That might explain moving the nut closer to the bridge by a calculated
amount, but I'm lost as to the importance of the "special frequencies"
that one is supposed to tune to, if I'm reading the ad copy right.

This is all just conjecture on my part of course. I'd love to get
the "real" scoop, though. I'd thought about getting a hold of the
Washburn(?) video, but there's no guanantee it would have any real
info, and I don't have a VCR anyhow (yeah, yeah, call me a Luddite :-)

Steve

>In the June 98 issue of Guitar Player, on p86, there's a huge ad for
>guitars using the new Buzz Feiten system for intonation. What makes me a
>bit ill is 2 things: one, as far as I can tell, after playing guitar for
>33 years, if the guitar keeps the same 12 note/octave eq temp
>arrangement,

I guess I'll ask the obvious question: What aspects of intonation does
the Buzz Feiten system address if not microtonality? Is its purpose
greater accuracy to 12TET (in the spirit of moveable bridges and such)?