Re:Charlatans

Oh Gosh
an email scam?!
what a funny joke we must have missed
here's a joke --
hey Brian no refund for your lambdoma controller

ha

Pat Pagano, Director
South East Just Intonation Society
http://indians.australians.com/meherbaba/
http://www.screwmusicforever.com/SHREESWIFT/
----- Original Message -----
From: Orphon Soul, Inc. <tuning@orphonsoul.com>
To: Tuning List <tuning@yahoogroups.com>
Sent: Saturday, June 16, 2001 2:30 AM
Subject: [tuning] BRIAN McLAREN Impersonating Brian McLaren?

> On 6/16/01 2:27 AM, "Gary Morrison" <mr88cet@austin.rr.com> wrote:
>
> > Yes, Brian definitely was on the practicalmicrotonality list for much of
its
> > existence,
>
> Exactly. And there's no excuse for what he pulled on that list either.
> Except maybe that he *is* bipolar and *hasn't* been taking his meds.
> That would definitely explain it. But it doesn't justify it.
>
>
>
> On 6/16/01 1:39 AM, "Gary Morrison" <mr88cet@austin.rr.com> wrote:
>
> > Let me tell ya folks, if these messages really were from Brian, and he's
> > "playing dumb" about them, then he's definitely doing a really
convincing job
> > at it.
>
> He isn't convincing anyone of anything.
>
> Why would someone who is so obviously pro-McLaren and promoting something
> he's selling be so inclined to misappropriate his identity under the same
> guise to attack people and cause him a bad reputation? Why would someone
> who is misappropriating his identity to attack people and cause him a bad
> reputation under the same guise promote something he's selling? Are you
> saying that him saying he hasn't been on the tuning list for 4 years mean
> that whoever is doing this has only been copying and pasting things that
> Brian wrote 4 years ago? (see large post below)
>
> The posts were made in the same format, quoting "in message (#) of Digest
> (#)".
>
> In tuning_gossip, the alleged imposter also posted amidst the challenge:
>
> "I'll be on the road for a few days, but when I come back
> online, let's hear the music. I want URLS. I want WAVS. I want MP3s
> and STANDARD MIDI FILES."
>
> It was immediately followed by:
>
> "You do that much and I'll get the bipolar
> medicated by then, too. -mclaren"
>
> which was posted by zenharmonic@yahoo.ca a.k.a. The Clever Mr. Zill.
>
>
> Amidst all of the abusive horseshit that went down at
> practicalmicrotonality, from "xed@exchangenet.net", there was also this
> post:
>
> * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
*
>
>
> In message 5 of Digest 6, Kraig Grady wrote:
>
> > Yes so often work is unappreciated by just the recording that people
overlook
> > what is there. It took McLaren versions for many to appreciate Darreg's
work.
> > For me there is still something in the original that stands on it's own
and
> > this is very true of Partch where the weaknesses just adds to the human
> > quality of his music.
> >
> Some of you may wonder what Kraig is talking about here.
> Ivor Darreg is one of the most important microtonal composers
> and instrument-builders in post-war America. Starting in 1935,
> Ivor built his own electronic instruments and retuned them into
> various just intonation and equal tempered tunings. For 59 years,
> until his death in 1994, Ivor composed in and wrote about a wide
> variety of different equal tempered and just intonation systems,
> including 10 equal, 13 equal, 14 equal, 15 equal, 16 equal, 17 equal,
> 18 equal, 19 equal, 22 equal, 24 equal, 31 equal and 53 equal.
> Ivor's "Xenharmonic Bulletins" were bound as part of John Chalmers'
> journal "Xenharmonikon," and Ivor produced 12 Xenharmonic Bulletins
> including a "Special Bulletin" which qualifies as "Xenharmonic
> Bulletin Number Zero."
> Ivor did not have access to modern digital retunable synthesizers
> until
> I loaned him one. In 1991 I dragged over a VFX synthesizer and an 8088 DOS
> laptop with a serial MIDI interface to Ivor Darreg's house. The laptop
> recorded MIDI files of pieces which Ivor improvised in every equal
> temperament from 9 through 31.
> Two subsequent sessions recorded MIDI files of Ivor's improvs
> in every equal temperament up to 53 equal.
> At home, I recorded Ivor's MIDI pieces using the synthesizer
> Ivor had used to record his pieces. In the process I edited out
> a very small number of slight errors Ivor made while playing --
> accidential strikes of 2 keys at once, etc.
> From these 3 MIDI recordings 3 audio CDs of Ivor's
> music were produced.
> Ivor named these 3 CDs "Beyond the Xenharmonic Frontier - Volume
> 1," Volume 2, and Volume 3.
> The music on these 3 CDs is typical of Ivor's microtonal
> compositional style and many people have called these CDs "wonderful"
> and "impressive." However, while the music on the CDs remains
> typical of Ivor, the timbres sound much cleaner and more digital
> than the earlier reel-to-reel recordings Ivor made of his music
> from 1957 until his death.
> The synthesizers Ivor built by hand to explore various
> microtonal tunings used analog tubes and analog oscillators.
> As a result, Ivor's other recordings (aside from the 3 CDs
> "Beyond the Xenharmonic Frontier" Volumes 1, 2 and 3) have
> a characteristic crackly slightly noisy analog "sound."
> This is why Kraig Grady mentioned "It took McLaren versions for
> many to appreciate Darreg's work." The digital timbres used
> in the 3 CDs "Beyond the Xenharmonic Frontier" have the sleek
> noiseless somewhat metallic quality typical of all digital
> synthesizers, and some people appear to judge CDs solely by
> the amount of background hiss, rather than the quality of
> the music.
> However, Kraig Grady is entirely correct when he points out
> that "for me there is still something in the original that
> stands on its own." In the case of Ivor's reel-to-reel recordings
> made using his hand-built amplified acoustic and analog electronic
> microtonal instruments, each note of Ivor's electronic instruments
> has its own slightly different timbre. Moreover, on instruments
> like his amplifying clavichord Ivor uses techniques which are
> impossible even on modern digital synthesizers -- for example,
> tremolo on a single note.
> For those of you interested in Ivor Darreg's original recordings,
> I have also released a CD compiled from Ivor's original reel
> recordings. These recordings go back to 1957 and are of surprisingly
> high audio quality. These recordings show the classic analog
> "sound" of Ivor's microtonal music, with music Ivor recorded
> in the late 1950s and throughout the 1960s and into the 1970s.
> For a taste of the newer digital "sound" of Ivor's microtonal
> music on digital synthesizers (dating from about 1988 to 1994),
> try Ivor's CDs "Beyond the Xenharmonic Frontier" Volumes 1, 2 and
> 3.
> All these CDs of Ivor Darreg's music are available from
> The Microtonal Record Shelf, which is currently running a
> "buy 3, get 1 free" promotion right now. Each CD is normally
> $15.00 but for members of this group I will give a discount to
> $12.00 each. E-mail me for info on how to order these CDs by
> Ivor Darreg.
> The Microtonal Record Shelf currently has 41 audio CDs of
> microtonal music in its catalog, along with 2 books and 3
> instructional audio CDs: the single CD "Introduction to
> Microtonality," and the 2-CD set "Consonance and Dissonance
> in Microtonality."
> E-mail me if you're interested in getting a catalog and a
> 60-minute sampler CD containing audio excepts from all 41 of
> our microtonal CDs.
> -- mclaren
>
> * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
*
>
>
>
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