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LaMonte Young

🔗jmax@interport.net (John Maxwell Hobbs)

6/11/1996 12:59:15 PM
>Date: Mon, 10 Jun 96 14:54 EST
>From: PAULE
>To: tuning
>Subject: RE: NYC 6/8/96: Lamonte Young and the Fo


>Funny, I thought the keyboard sound was a very accurate emulation of an
>acoustic piano.

I was not at the concerts at the Knitting Factory, but having helped to
produce the two weeks of concerts that made it on to the album, I can tell
what I do know about some of this.

When he performed at The Kitchen, he only used the piano patch. The Bflat
is tuned to 60hz. As far as I know, the Korg is 48 note polyphonic.
During the opening section which LaMonte refers to as "clouds" a great deal
of difference tones are produced, thanks to the tuning. That's probably
what you're hearing that's not subject to the attack and release


>The frantic arpeggios seemed to be a means of
>projecting the pure, resonant coinciding overtones that resulted from the
>pure tuning. I suppose the faster the arpeggios are, the less variation is
>heard in the intensity of these overtones, as all the phase-cancellation and
>reinforcement would average out, but I was surprised at how the overtones
>did not seem to be subject to the attack or inevitable release (how many
>notes can the Korg sustain at once? infinity?) of the notes. Anyone know how
>LaMonte does it? I think I read that he claimed to have such a fine control
>of timing that he could make a certain overtone resonate by repeatedly
>striking a key ar keys just at the crest of its cycle. Is this really
>humanly possible?

Good question. LaMonte's been exploring this terrain for a long time. Who
knows what he's trained himself to hear.

John Maxwell Hobbs
Producing Director/New Technology, The Kitchen http://www.panix.com/kitchen

jmax@interport.net http://www.interport.net/~jmax/



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