From DavesTvox@webtv.net Thu, 30 Apr 1998 14:11:37 -0500 Date: Thu, 30 Apr 1998 14:11:37 -0500 From: David Miller DavesTvox@webtv.net Subject: How many... Six. It takes six thereminists to screw in a lightbulb. One to screw it in and five others to stand around and say they could have done it better. Dave M From dball@esper.com Thu, 30 Apr 1998 15:21:43 -0500 Date: Thu, 30 Apr 1998 15:21:43 -0500 From: David Ball dball@esper.com Subject: How many... >Hello levnetters, > A question was recently posed to me that I was unable to answer. Hopefully >one of you might have the answer to this one: How many theremin players does >it take to screw in a light bulb? In a light bulb? From pluto@4link.net Thu, 30 Apr 1998 12:50:51 -0700 Date: Thu, 30 Apr 1998 12:50:51 -0700 From: Ross Marshall pluto@4link.net Subject: How many... David Ball wrote: > > >Hello levnetters, > > A question was recently posed to me that I was unable to answer. > Hopefully > >one of you might have the answer to this one: How many theremin players > does > >it take to screw in a light bulb? > Well, if the bulb is big enough, you could stuff two or three inside. Whether they ____ or not is up to them. From ROAKLEY@LSAC.org Thu, 30 Apr 1998 15:42:41 -0400 Date: Thu, 30 Apr 1998 15:42:41 -0400 From: Oakley, Robert ROAKLEY@LSAC.org Subject: How many... They're still practicing. In a few years, maybe... In the mean time, here's a recording of someone doing it.... > -----Original Message----- > From: Protist [SMTP:Protist@aol.com] > Sent: Thursday, April 30, 1998 2:19 PM > To: Multiple recipients of list > Subject: How many... > > Hello levnetters, > A question was recently posed to me that I was unable to answer. > Hopefully > one of you might have the answer to this one: How many theremin > players does > it take to screw in a light bulb? From b105@b105.com.au Fri, 1 May 1998 05:54:50 +1000 Date: Fri, 1 May 1998 05:54:50 +1000 From: B105 b105@b105.com.au Subject: How many... >In a light bulb? Dave Ball, you imaginative gentlman, you. Try not to burn yourself on the filament. How many? One, but it'll never get done. They'll stand very still and fish for the center for a while , then get too self concious about their ability and light a candle instead. Or get too fed up with missing the centre, go to the next room, sample some light, loop it and put in the dark room and call it "lite". xx andrew spidey@bit.net.au From rewelch@earthlink.net Thu, 30 Apr 1998 16:23:57 -0400 Date: Thu, 30 Apr 1998 16:23:57 -0400 From: Reid Welch rewelch@earthlink.net Subject: How many... Dave said: >Six. It takes six thereminists to screw in a lightbulb. One to screw >it in and five others to stand around and say they could have done it >better. OK... Six... -One to screw it in. -Four to stand around and say they could have done it better. -One to say it cannot be done. Reid From rewelch@earthlink.net Thu, 30 Apr 1998 16:56:07 -0400 Date: Thu, 30 Apr 1998 16:56:07 -0400 From: Reid Welch rewelch@earthlink.net Subject: War with Reid Hi John, I give my last words below, having snipped the extraneous stuff: >JM: >What is it that makes tube theremins "interesting?" It is the vagaries >associated with an inexact technology. To make a solid state >theremin that >would please you, one would only need to start with a transistor >design and >mess it up enough to add the requisite distortion. Do it, John! Riches await you as inventor of the $349.95 Clara Rockmore Silicon Theremin. >RW: >>I thought "singing woman" was what Clara's theremin does so well. > >No. Although I have not heard it in person, I have heard several >recordings of it and it has more of a rectangular wave "buzz" >quality to it >than a singing quality. I heard her theremin in person. I also have a nice playback system at home. The Rockmore treble sings. That soprano voice... everyone seems to hear it but you. There _is_, OTOH, a modified squarewave sound in the bass. The treble is not square either on the scope or to my ears. Your ears are different, I guess. >Hoffman's theremin--again from recordings--has >more of a singing quality. The Stout sounds more like a cello, >albeit an >electro-cello. Hoffman's theremin, like other RCAs strongly tends to a human humming quality in the treble. Occasionally I can get a bit of open-throated soprano sound from my own RCA. But it depends on the vagaries of tube selection and is not characteristic of the RCA. I have good references: two good tube theremins, and repeated access to Clara's theremin. I trust my ears for my livelihood, and besides that, the Stout proves my points to others- if not to you. One can't please everybody. Finally, regarding my suggestion that you make a better transistor theremin: >DO I HEAR A CHALLENGE? Oh, this could be interesting. I might >take you up >on it. But what would my reward for winning be? Credibility. Reid From DavesTvox@webtv.net Thu, 30 Apr 1998 16:35:04 -0500 Date: Thu, 30 Apr 1998 16:35:04 -0500 From: David Miller DavesTvox@webtv.net Subject: How many... Absolutely right Reid. I stand corrected! Dave M From John_Mitchell@ascend.com Thu, 30 Apr 1998 15:19:19 -0700 Date: Thu, 30 Apr 1998 15:19:19 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Solid-state Stout Welcome to Levnet, Giorgio! As you see, things are hopping here. For now. Giorgio wrote: >One important difference between tubes and transistors is the generation of >harmonics: a transistor tends to linearize ( to cut ) drammatically the >peaks of loud signals ( from sinusoidal to trapezoidal ), this generates EVEN and >ODD harmonics and the sound becomes "cold"; on the other way, a tube tends >to follow the peaks ( remains sinusoidal ), this generates only EVEN >harmonics and the sound becomes "warm". The problem with this hypothesis is that the tube theremins considered to have the most "warm" sound generate rectangular waves, which are composed of odd harmonics. My hypothesis? Tube instruments have more resonant peaks than solid-state theremins. Since acoustic instruments tend to resonate around certain frequencies and our ear-brains are wired, as it were, for natural sounds, an electronic sound lacking resonant peaks will sound flat or artificial. As proof of this, I offer that a tube theremin playing at the very tip top of its register sounds as flat and uninteresting as a solid-state theremin. Why? Because the resonant frequencies to which the human ear is attuned fall way below that range and the sound is unaffected (the same way speech formants don't affect high frequencies). ERGO... To build a "warm" solid state theremin, you need to start with a rectangular wave and run it through a FIXED comb filter. johnm From John_Mitchell@ascend.com Thu, 30 Apr 1998 15:38:37 -0700 Date: Thu, 30 Apr 1998 15:38:37 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: The horror of polyphony Pamelia wrote: >A chorus of theremins can sound as good as violins or voices! It depends on >the players : The difference is that violin players and singers (good ones anyway) don't have to fish for notes. Theremin players--even the best ones--have to. It's the nature of the instrument. And while it's true that the fishing lasts for only a split second, it will be a split second of dissonance if more than one theremin is playing. On a polyphonic theremin you would have one person fishing for two notes, which would be about as easy as for a person to do as listening to two conversations at once. The result couldn't be anything but dreadful. johnm From DavesTvox@webtv.net Thu, 30 Apr 1998 17:52:07 -0500 Date: Thu, 30 Apr 1998 17:52:07 -0500 From: David Miller DavesTvox@webtv.net Subject: Ear Training Ross No one ever said this exercise in its self is the whole approach to theremin playing. It is an exercise which should make part of a student's daily routine. I never said that all time should be spent on this drill. If the students spends 10-20 minutes a day practicing pitch recognition and production on the instrument, success will come quickly even if the rest of the 50 minutes in an hour is spent sounding like a chicken getting its feet stepped on. The strict purity of pitch is what should be addressed while DOING THE EXERCISE. Joy can be had while playing tunes AND technical exercises. I have seen (heard) many times (and then some) the results of people who practice only to entertain themselves. What is important is a balance, as it is in everything, really. Please don't imply my suggestions would have the student feel he could not have fun. If it's not fun, why the heck spend 4 hours a day playing the thing. I sure don't spend time trying to tear myself up just because a note is not perfect. Perhaps I do while doing this very specific exercise, though. Technique gives one the freedom to express. This exercise is only one out of many others that help to build that foundation. I find it interesting that not only in music (but photography as well) that many people just do not take the time to do the very simplest of exercises, and I have seen time and time again the results of their refusal. What is a ten minute exercise when compared to a whole 24 hour day? Not much. I don't necessarily disagree with you Ross. I just want to clarify to you that what I was talking about was only one very specific exercise. Dave M From DavesTvox@webtv.net Thu, 30 Apr 1998 18:07:25 -0500 Date: Thu, 30 Apr 1998 18:07:25 -0500 From: David Miller DavesTvox@webtv.net Subject: The horror of polyphony Hey johnm, I actually read one complete post of yours!!! If the theremin is so dreadful, why your interest in the instrument? You have succeeded in finding the difficulties of the instruments along with its quirks, now why not do something constructive and address these issues as a designer/engineer. You talk about fishing around for pitch. Perhaps you should try a pitch preview cirucit. You mention attack (or lack thereof), why not do something about it? Show us what it is you want in an instrument. I ask these questions only because I have read too many times your concerns and at the same time have listened to your thereminette on the Levnet CD. I happen to hear just as many "problems" with that instrument. Please don't take this wrong, This is no flame. I'm just wondering when all the "concern" is going to turn into something substantial to remedy the situation. Respectfully submitted, Dave M From Planetgrog@aol.com Thu, 30 Apr 1998 19:11:53 EDT Date: Thu, 30 Apr 1998 19:11:53 EDT From: Planetgrog Planetgrog@aol.com Subject: The horror of polyphony In a message dated 4/30/98 10:53:04 PM, you wrote: <> That's like assuming a person couldn't possibly sing and play the theremin accompanying without sounding dreadful....I don't think Clara sounded dreadful doing it.... You must witness it (polyphonic theremin) being done sometime by somebody with good ears before coming up with the dreadful conclusion!!! I understand what you're saying though and know how dreadful it can sound. From jlarryh@iquest.net Thu, 30 Apr 1998 18:42:29 -0500 Date: Thu, 30 Apr 1998 18:42:29 -0500 From: Larry Hendry jlarryh@iquest.net Subject: Transformers and tube theremins Well Dave, I would like to say that I for one enjoyed hearing your progress reports on the Tube Theremin design. I have built a T-Max and Etherwave (which I love but still cannot play well). I would be very interested in building up a tube design from scratch. However, alas, I am not a design engineer and must bow humbly in respect to your abilities and persistence. I am confused about this "time out for paying jobs" though... Just kidding! This list is interesting as it is one of the few I know that lets the music and technical issues of an instrument co-exist. That's great for a tech-head musician like me. I also subscribe to synth-diy and am building a modular analog synth. A recent suggestion that music might be discussed on that group nearly started a war.. LOL.. :) Great people on that list too BTW. So, when you do let the bug bite you into experimenting again, keep us posted. When you get it just right, maybe it too can be a paying gig. I would be interested in paying for your plans perhaps coupled with some of the "harder to get must be just exactly this one" parts. Maybe a "limited production" kit to someday stand in honor with the likes of RCA and Stout. Anyway (getting back down to earth), keep us posted. Even the reading is fun. Larry Hendry ---------- > From: Dave Stork > To: Multiple recipients of list > Subject: Transformers and tube theremins > Date: Thursday, April 30, 1998 3:13 AM > > Interesting to hear about the subjective differences between various > makes of audio output and interstage transformers. Has anyone here ever > put a particularly good-sounding one on an impedance bridge and measured > primary inductance, leakage (mutual) inductance between windings, > winding and leakage capacitance, and so on? I would be interested to see > how the various types compare on an objective basis. > > My own tube theremin design doesn't use AF transformers; but then again, > it also has such decidedly non-vintage apparatus as varactor tuning for > the pitch and volume oscillators. I think it sounds pretty good, but I > haven't had a chance to demo it for any players in person yet. Reid > heard it over the phone once, but that was before I ended up making some > small but ultimately crucial changes to the pitch oscillators, resulting > in a big difference in tone from just a small change in fundamental > operating frequency! I don't know if I mentioned it here--it's been a > while since I lasted posted about my experiments--but I also added > temperature compensation using NTC thermistors, yielding a sizable > improvement in stability. > > I haven't done any further development on the circuit in months, since > I've needed to re-focus on paying assignments such as the design of > guitar gear, test equipment and of course, repair work, my main source > of income. But reading the messages here gives me the bug to start > tweaking my therry circuit again... > -- > Dave Stork > Stork Audio > dstork@ibm.net > http://members.aol.com/StorkAudio > > From jlarryh@iquest.net Thu, 30 Apr 1998 18:49:45 -0500 Date: Thu, 30 Apr 1998 18:49:45 -0500 From: Larry Hendry jlarryh@iquest.net Subject: I'm back / Levnet CD Thanks Joan for your trouble. I got one and found it interesting and enlightening. ---------- > From: joan >>>snip<<< > If folks want one, all I ask is > $5.00 (U.S.) to cover materials cost and shipping and you will receive > one levnet CD in a brown paper wrapping;-) Humm. Brown paper to protect the privacy of the receiver or ??? Stirs the imagination.. d:-) Perhaps we might all partially qualify for the funny farm for our association with this instrument. :) Larry H. From jlarryh@iquest.net Thu, 30 Apr 1998 19:01:12 -0500 Date: Thu, 30 Apr 1998 19:01:12 -0500 From: Larry Hendry jlarryh@iquest.net Subject: How many... > Dave said: > >Six. It takes six thereminists to screw in a lightbulb. One to screw > >it in and five others to stand around and say they could have done it > >better. Reid said: > OK... Six... > > -One to screw it in. > -Four to stand around and say they could have done it better. > -One to say it cannot be done. I think SIX is right but it is like this: One to screw it in Three to stand around and say they could have done it better One to say it cannot be done AND one to argue the merits of replacing the bulb with the solid state LED that is obviously technically superior but that might not produce exactly the same quality of light as the valve bulb. Larry Hendry From dball@esper.com Thu, 30 Apr 1998 20:11:02 -0400 Date: Thu, 30 Apr 1998 20:11:02 -0400 From: David Ball dball@esper.com Subject: How many... Larry wrote: >> Dave said: >> >Six. It takes six thereminists to screw in a lightbulb. One to screw >> >it in and five others to stand around and say they could have done it >> >better. > >Reid said: >> OK... Six... >> >> -One to screw it in. >> -Four to stand around and say they could have done it better. >> -One to say it cannot be done. > >I think SIX is right but it is like this: > >One to screw it in >Three to stand around and say they could have done it better >One to say it cannot be done >AND one to argue the merits of replacing the bulb with the solid state LED >that is obviously technically superior but that might not produce exactly >the same quality of light as the valve bulb. Maybe the real answer is one, since it is unlikely that two or more could work together in polyphony. Dave Ball From pluto@4link.net Thu, 30 Apr 1998 17:48:07 -0700 Date: Thu, 30 Apr 1998 17:48:07 -0700 From: Ross Marshall pluto@4link.net Subject: Ear Training David Miller wrote: > I don't necessarily disagree with you Ross. I just want to clarify to > you that what I was talking about was only one very specific exercise. > Dave M ......... Excellent. I agree. Thanks for the clerifications. From DavesTvox@webtv.net Thu, 30 Apr 1998 19:38:05 -0500 Date: Thu, 30 Apr 1998 19:38:05 -0500 From: David Miller DavesTvox@webtv.net Subject: Ear Training Maybe that should be CLARAfication! (Oh gees, the humor) Dave M From dball@esper.com Thu, 30 Apr 1998 20:36:18 -0400 Date: Thu, 30 Apr 1998 20:36:18 -0400 From: David Ball dball@esper.com Subject: Solid-state Stout John wrote: >Welcome to Levnet, Giorgio! As you see, things are hopping here. For now. > >Giorgio wrote: > >>One important difference between tubes and transistors is the generation >of >>harmonics: a transistor tends to linearize ( to cut ) drammatically the >>peaks of loud signals ( from sinusoidal to trapezoidal ), this generates >EVEN and >>ODD harmonics and the sound becomes "cold"; on the other way, a tube tends >>to follow the peaks ( remains sinusoidal ), this generates only EVEN >>harmonics and the sound becomes "warm". > >The problem with this hypothesis is that the tube theremins considered to >have the most "warm" sound generate rectangular waves, which are composed >of odd harmonics. I don't know about that. From what I've seen, even the "buzzier" tube theremin sounds are really made up of basically sinusoidal "half waves" with a flat bottom. The wider the gap between the sinusoidal half waves, the "buzzier" the sound. But the waveform has still been much more sinusoidal than square in basic form. >My hypothesis? Tube instruments have more resonant peaks than solid-state >theremins. Since acoustic instruments tend to resonate around certain >frequencies and our ear-brains are wired, as it were, for natural sounds, >an electronic sound lacking resonant peaks will sound flat or artificial. I'll buy that. I think that's the same reason that some of the "improved" family of violin-type instruments created by Carlene Hutchens and others in the Catgut Acoustical Society sound so sterile. They have achieved a remarkably consistent tone across an expanded family of violin-like instruments--a feat that is quite impressive, and the result of extensive high-quality work--but they lack life. I think that the "imperfections" they have so carefully culled contained the life of the music. These instruments do sound flat and artificial to my ear. Kind of like society--a totally homogenous society would be quite a bore to me. >As proof of this, I offer that a tube theremin playing at the very tip top >of its register sounds as flat and uninteresting as a solid-state theremin. >Why? Because the resonant frequencies to which the human ear is attuned >fall way below that range and the sound is unaffected (the same way speech >formants don't affect high frequencies). I'd agree here, too (at the very highest range, anyway where most tube theremins tend to be producing very very sinusoidal waves). The frequency response of the human ear and the brain's interpretation of the signals received by the ear can certainly not be ignored. As I understand it, the entire field of psychoacoustics revolves around this fact. ERGO... > >To build a "warm" solid state theremin, you need to start with a >rectangular wave and run it through a FIXED comb filter. Here I'd have to totally disagree. From my observations, Giorgio is on the right track with his even harmonic theory. In my instrument, I see a fairly high level of second harmonic distortion as the predominant distortion component. All amplification in my instrument is single-ended (like the RCA) which does not tend to produce odd-order harmonics, but is admittedly fairly rich in even ordered ones. This is OK to the human ear, since even order harmonics are not perceived as particularly offensive--in fact, they're often not even noticed. Instead of the rectangular wave that you suggest, I think that one would have to start with a sine wave (as heterodyning theremins do by nature), and manipulate those waves to maintain their basically sinusoidal nature while varying the space between the peaks. I admit that this "varying space between peaks" is more easily achived with your rectangular wave model, but these spaces control only the "buzziness" of the tone. Selectively adding even ordered distortion would complete the picture--but it would have to be done in such a way that the effect was continually variable over the range of the instrument to avoid the sameness of tone that can be tiresome. These harmonics are the source of the "vocal" qualities that a good tube instrument displays. It takes all three factors to make what I would consider to be a great theremin: The proper level of buzziness resulting from the rectangular nature of the waves; the vocal tone in the mids and trebles resulting from a basically sinusoidal wave with a fairly high level of even order distortion, and a continuum of waveform variability which is present in acoustic instruments (producing a variable distortion that our ears like, as John suggests). Now how many thereminists DOES it take to screw in a light bulb? Dave Ball From rewelch@earthlink.net Thu, 30 Apr 1998 21:39:09 -0400 Date: Thu, 30 Apr 1998 21:39:09 -0400 From: Reid Welch rewelch@earthlink.net Subject: Solid-state Stout Dave Ball said: >It takes all three factors to make what I would consider to be a great >theremin: The proper level of buzziness resulting from the rectangular >nature of the waves; the vocal tone in the mids and trebles >resulting from a >basically sinusoidal wave with a fairly high level of even order >distortion, >and a continuum of waveform variability which is present in acoustic >instruments (producing a variable distortion that our ears like, as John >suggests). I fully agree -and wish I could have said it half so well. Thanks, Dave. Reid From theremin1@worldnet.att.net Thu, 30 Apr 1998 21:56:14 -0700 Date: Thu, 30 Apr 1998 21:56:14 -0700 From: Arthur Harrison theremin1@worldnet.att.net Subject: LEVNET digest 295 Peter said: >To conclude my intro, I'm from the Netherlands, 31 and am a designer of inte- >grated circuits by day. Maybe the band I play in could use some weird Theremin >sounds one day, but we'll see how this will turn out; I'm still new to most of >all this here. I ask: Would you kindly design an LSI IC expressly for a nice Theremin? (Oh, I just can HEAR the groans from those transistorphobes! (:) Peter also said: >>>Call me silly but the former gives me more the idea of 'sound coming >>>from the air' while the latter gives me the less magical idea of >>>listening to a controlled oscillator-IC (which it is). Any thoughts ? I babbled: >>It is tempting to think of heterodyning in romantic terms, which does >>provide a very direct means of capacitance-to-pitch conversion, and >>thus has the quality of instantaneous response to capacitance changes. >>In this respect, there probably are some qualities inherent in heterodyning >>which do not appear in most synthesized topologies. Peter: >'in romantic terms' perfectly describes my feeling ! (but an irrational >feeling as Art and others have pointed out) Art: Hey, I find voltage controlled oscillators quite romantic, too! Peter to Pamelia re: bass sounds >Theremin (Longwave) that's under construction now can make it to 40 Hz. >This low will be enough for now for me, but I could imagine that several >Theremins can go lower than this. Art brags: How 'bout 13.75 hertz of pure synthesized sine wave? (from my own units) Now, you can really FEEL that! From neco@clu.it Fri, 1 May 1998 14:21:21 +0200 Date: Fri, 1 May 1998 14:21:21 +0200 From: Giorgio Necordi neco@clu.it Subject: Solid-state Stout Dave Ball wrote: >Instead of the rectangular wave that you suggest, I think that one would >have to start with a sine wave (as heterodyning theremins do by nature), and >manipulate those waves to maintain their basically sinusoidal nature while >varying the space between the peaks. I admit that this "varying space >between peaks" is more easily achived with your rectangular wave model, but >these spaces control only the "buzziness" of the tone. Selectively adding >even ordered distortion would complete the picture--but it would have to be >done in such a way that the effect was continually variable over the range >of the instrument to avoid the sameness of tone that can be tiresome. These >harmonics are the source of the "vocal" qualities that a good tube >instrument displays. I totally agree with you. Bob Moog' tubes theremin ( Radio & television news, january 1954 ) uses selectively adding of even harmonics. By the way, has someone tried to build it? From dball@esper.com Fri, 1 May 1998 09:33:18 -0500 Date: Fri, 1 May 1998 09:33:18 -0500 From: David Ball dball@esper.com Subject: Reality Check Hi gang, I was just sitting in a fellow's office when "Good Vibrations" came up on the radio. I told him, "That's not a theremin, that's Paul Tanner playing an instrument of his own invention. He played on lots of other recordings too, and people thought it was a theremin..." His reply--"a WHAT?" Oh well, Dave Ball From b105@b105.com.au Sat, 2 May 1998 01:24:27 +1000 Date: Sat, 2 May 1998 01:24:27 +1000 From: B105 b105@b105.com.au Subject: Reality Check I have been there so often. If only I had a couple of cents for every time I've been spotted in a club talking to someone, right hand suspended in pitch mode, left controlling volume that isn't there and me humming and whistling simultaneously to try and replicate the tone of my instrument, in a vain attempt to explain just what sits in my bedroom. I guess it beats playing air guitar. But air theremin is the same as real theremin...ohh I'm confused. Incidentally, I caught a Denzel Washington and Russell Crowe(my favourtie romper stomper!) movie on Cable today..Virtuosity it's called. Any way, there's this scene where Russell is making music by moving his hands above light senors, the music changes with the shape of his hand / intensity of his movements. Not a Theremin, but possibly influenfced? xx andrew spidey@bit.net.au From jgiunta@mailbox.gmu.edu Fri, 01 May 1998 11:30:09 -0400 Date: Fri, 01 May 1998 11:30:09 -0400 From: John Giunta jgiunta@mailbox.gmu.edu Subject: pitch (questionably humorous) With the complaints about difficulty with pitch, why not employ the long-forgotten subsance used by the ancient Egyptian thereminists, the real thing--bituminous pitch !! Simply take a cupful of the gooiest pitch you can find and slowly mix in some terpentine to adjust the consistency. Experiment with the mixture to get perfect pitch. Apply it evenly over both bare arms. Use a putty knife to avoid finger tracks, if necessary. The resulting added mass to the arms will make it easier for both arms to be in the right place at the right time, will make glissandi smoother and add "authority" to the music. Caution: If you do not have terpentine, do not use "serpentine", as this chemical should only be used for removing the spots from snakes. Ahem, John Giunta From DavesTvox@webtv.net Fri, 1 May 1998 11:14:56 -0500 Date: Fri, 1 May 1998 11:14:56 -0500 From: David Miller DavesTvox@webtv.net Subject: Reality Check Dave That's a good one. Oh well... Dave M From AKarlok@aol.com Fri, 1 May 1998 12:51:09 EDT Date: Fri, 1 May 1998 12:51:09 EDT From: AKarlok AKarlok@aol.com Subject: Reality Check of course, even when I tell people they're listening to a theremin I usualy get ..a what?? From rewelch@earthlink.net Fri, 1 May 1998 12:53:41 -0400 Date: Fri, 1 May 1998 12:53:41 -0400 From: Reid Welch rewelch@earthlink.net Subject: Gift Tapes going out.... Clara Rockmore Gift Tapes are going out today to the following people: BB, MR, DW, AK, GE, TG, DS, PV. If you asked for a tape but aren't listed above please remind me. The Clara Rockmore Gift Tape is an audio cassette containing my July 1997 Clara Rockmore interview. You also hear me try out Clara's special theremin. On the flip side is accompaniment music for theremin practice as played by her sister, the late Nadia Reisenberg. The Tape is free throughout the world. No donations, please. It's a humble home-made production which nonetheless offers a certain charm. Send me your mailing address. Subject header: GIFT TAPE. Reid From John_Mitchell@ascend.com Fri, 1 May 1998 11:06:39 -0700 Date: Fri, 1 May 1998 11:06:39 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Good to the Last Blip! Dave M. wrote >According to Herbert A. Deutsch, in his book, "Electroacoustical Music: >The First Century" (Belwin Mills, 1993), an ondes Martenot was used to >create the famous Maxwell House coffee pot perculator jingle! >Jingle composer, Eric Siday, used the ondes Martenot to create this >"catch". This preceded the commercial success of synths, such as the >Moog and Arps. I remember reading in the 1960s that the Maxwell House commercial was one of the first commercial recordings of the Moog synthesizer and was played by none other than Walter Carlos. I'll investigate this further. johnm From joan@mediaone.net Fri, 01 May 1998 14:35:40 +0000 Date: Fri, 01 May 1998 14:35:40 +0000 From: joan joan@mediaone.net Subject: Clara Rockmore's Ear Training >From: "Reid Welch" >To: >Subject: RE: Clara Rockmore's Ear Training >Message-ID: <000601bd7403$c799a0e0$ae341e26@crasher> > >Oh, I wholeheartedly agree. Joan Pumphret and I had fun in Portland doing >just that. I sat at a piano and played single notes. Joan, then a total >beginner, tried to follow them upon her brand new Etherwave. Hesitant, >wrong notes at first because she had no prior musical training. Within ten >minutes she gained a huge improvement in pitch sense. Something internal >had begun to "click". In twenty minutes she was becoming an old hand at and >had no difficulty in getting close to the center. Yes, yes, this lesson was the one that gave me that "ah ha, that's how it's done" feeling. It was also helpful having someone with a lot of patience who allowed me to be comfortable with the bad notes. Joan PS thanks for not mentioning the singing ;-) From John_Mitchell@ascend.com Fri, 1 May 1998 11:35:31 -0700 Date: Fri, 1 May 1998 11:35:31 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Say "Ah" Reid wrote: >I heard her theremin in person. I also have a nice playback system at home. >The Rockmore treble sings. That soprano voice... everyone seems to hear it >but you. I think this may have been a problem of semantics. What I mean by the "singing" quality is that "ah" sound, which I don't hear from Clara's instrument. But her theremin does acheive a sound on the CD that could certainly be described as a soprano-like sonority. RW>Finally, regarding my suggestion that you make a better transistor theremin: JM>DO I HEAR A CHALLENGE? Oh, this could be interesting. I might JM>take you up on it. But what would my reward for winning be? RW>Credibility. Hahaha! Touche! I'll throw in the towel for now. But if I do take up building theremins again, the next model will be a bass-only instrument that is "plucked" with the left hand. johnm From John_Mitchell@ascend.com Fri, 1 May 1998 11:49:58 -0700 Date: Fri, 1 May 1998 11:49:58 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Polyphony I wrote: >On a polyphonic theremin you would have one person fishing for two notes, >which would be about as easy as for a person to do as listening to two >conversations at once. The result couldn't be anything but dreadful. Pamelia wrote: >That's like assuming a person couldn't possibly sing and play the theremin Well YES, but...uh..that is a good point, but...then again...uh...but...uh... FATAL ERROR::SYSTEM HALT ***The answer you have entered has caused a serious brain overload. ***If problems persist, please contact the Levnet system administrator. johnm From TheeXVirus@aol.com Fri, 1 May 1998 15:20:45 EDT Date: Fri, 1 May 1998 15:20:45 EDT From: TheeXVirus TheeXVirus@aol.com Subject: GIFT TAPE Wow, this is the coolest thing I have seen since I subscribed to this Levnet. I built one of those Etherwaves and am trying to learn to play for my high school Senior Exhibition. This awful new graduation requirement they're sticking on us. Anyways.... Justin Wieland 10331 Matador Ct. San Diego, CA 92124 From dball@esper.com Fri, 1 May 1998 15:36:01 -0500 Date: Fri, 1 May 1998 15:36:01 -0500 From: David Ball dball@esper.com Subject: GIFT TAPE Justin wrote: >Wow, this is the coolest thing I have seen since I subscribed to this Levnet. >I built one of those Etherwaves and am trying to learn to play for my high >school Senior Exhibition. This awful new graduation requirement they're >sticking on us. Anyways.... Around here they just hope that graduates can read and write... Dave Ball (who really isn't all THAT cynical) From TheeXVirus@aol.com Fri, 1 May 1998 15:47:07 EDT Date: Fri, 1 May 1998 15:47:07 EDT From: TheeXVirus TheeXVirus@aol.com Subject: GIFT TAPE Hey I corrected my self....damn this aol.... From jasonba@microsoft.com Fri, 1 May 1998 12:49:28 -0700 Date: Fri, 1 May 1998 12:49:28 -0700 From: Jason Barile jasonba@microsoft.com Subject: GIFT TAPE Yup - my freshmen class in TN had close to 400 people, and we graduated with 270. Still... I vaguely recall someone building a photo-sensing theremin for the science fair. Justin - keep in mind Bob Moog played a theremin for a school talent show. What songs are you working on? -Jason -----Original Message----- From: David Ball [mailto:dball@esper.com] Sent: Friday, May 01, 1998 12:39 PM To: Multiple recipients of list Subject: Re: GIFT TAPE Justin wrote: >Wow, this is the coolest thing I have seen since I subscribed to this Levnet. >I built one of those Etherwaves and am trying to learn to play for my high >school Senior Exhibition. This awful new graduation requirement they're >sticking on us. Anyways.... Around here they just hope that graduates can read and write... Dave Ball (who really isn't all THAT cynical) From JBernhardt@nefn.com Fri, 1 May 1998 16:22:11 -0400 Date: Fri, 1 May 1998 16:22:11 -0400 From: Jon Bernhardt JBernhardt@nefn.com Subject: Hello There, Ladies and Gentlemen Is it too late to chime in with an introduction? I live in the Boston area and earn my keep as an actuary (definition: a number cruncher who doesn't have the personality to be an accountant). In 1983, while at MIT, I got involved with the campus/community FM radio station, WMBR. For the last 14 years I've hosted a Friday morning indie/punk/alternative/whatever-the-catch-phrase-of-the-hour-is rock program (if you're in the area it's on 8-10 am at 88.1 fm). Like many others, I became interested in theremins after seeing Steven Martin's film. I did a little research on the 'net (thanks Jason!), and ordered an Etherwave at the end of 1995. I built it right away, but didn't really play with it much until the beginning of 1997 when I formed a band with another Etherwave owner. Our band is called The Lothars (yes, it's an "homage" to Lothar and the Hand People). The line-up is three Theremins (two Etherwaves, one Theremax), an accordian, and a guitar. All instrumentals. I don't want to be too self-promotional; there's an URL at the end of this message that will give you more information about The Lothars than you'll ever need. I met some of you really briefly at last year's Portland festival. I've put my deposit down for the Asheville "Theremin Camp" in July, so maybe I'll meet some more of you then! When I joined Levnet, at the end of June, 1997, there were 15 subscribers. Now there are over 150. Little has changed over the last 10 months. We were telling "light bulb" jokes back then too. I have GOT to find me one o' them Digitech Whammy pedals. ~Jon |--------------------------------------------------------------------| The Lothars ...... Three Theremins ...... One Guitar ...... All Heart The Lothars home page: http://web.mit.edu/jonb/www/bands/lothars.html From TheeXVirus@aol.com Fri, 1 May 1998 16:28:56 EDT Date: Fri, 1 May 1998 16:28:56 EDT From: TheeXVirus TheeXVirus@aol.com Subject: GIFT TAPE I'm still not sure about a song. I basically just need to turn it on and wave my hands around for a couple minutes. I'll probably just try to match the string arrangement for some pop song (i.e. Beatles or something) so they will recognize it. From Planetgrog@aol.com Fri, 1 May 1998 16:46:41 EDT Date: Fri, 1 May 1998 16:46:41 EDT From: Planetgrog Planetgrog@aol.com Subject: Polyphony In a message dated 5/1/98 7:03:59 PM, you wrote: <<***The answer you have entered has caused a serious brain overload. ***If problems persist, please contact the Levnet system administrator. >> OOOOOOOOOOOOPSSS!!!!!! From AKarlok@aol.com Fri, 1 May 1998 16:53:41 EDT Date: Fri, 1 May 1998 16:53:41 EDT From: AKarlok AKarlok@aol.com Subject: GIFT TAPE Ahhh, I remember the days I'd just turn it on and wave my hands around.. Andy From TheeXVirus@aol.com Fri, 1 May 1998 17:01:56 EDT Date: Fri, 1 May 1998 17:01:56 EDT From: TheeXVirus TheeXVirus@aol.com Subject: GIFT TAPE Well, I figure to impress them I just need to have some strange sounds going....is it bad to run the Theremin through a multi-effects guitar thing like the Digitech RP-6? From Planetgrog@aol.com Fri, 1 May 1998 17:20:02 EDT Date: Fri, 1 May 1998 17:20:02 EDT From: Planetgrog Planetgrog@aol.com Subject: GIFT TAPE In a message dated 5/1/98 9:06:30 PM, you wrote: <> It's a great thing! I have the RP-5 and love it! Pamelia From cx955@freenet.carleton.ca Fri, 1 May 1998 17:24:03 -0400 (EDT) Date: Fri, 1 May 1998 17:24:03 -0400 (EDT) From: Dylan David Wagner cx955@freenet.carleton.ca Subject: GIFT TAPE! > Well, I figure to impress them I just need to have some strange sounds > going....is it bad to run the Theremin through a multi-effects guitar > thing > like the Digitech RP-6? Not at all, I've run my etherwave through countless fx racks and pedals that are essentially created for guitar, but tend to send better with other things :) I've even used my etherwave to drive a vocoder! Now that was bloody fun... Oh the very best and most spectacularly theatrical fx bizzarity I've come across is using a plasma ball to distort the theremin. I would hold it in my pitch hand while I played and it would do some really interesting distortion on the sound, furthermore if I touched the globe (discharging the electrode I guess) this would further heighten the intensity of the distortion. Also interesting was that the plasma ball was distorting my amp and fx rack! Just the plasma ball alone was doing intersting synth-like sounds. Unfortunatly I've yet been able to re-creat this last bit... Oh! I guess since this is my first post to levnet I should say G'day! I've been sitting in the wings for a good two weeks now, shoulda joined ages ago but I had a lingering faith in rec.music.makers.theremin. Finally Dave convinced my to boot on over here. I currenly own a fancy piquantly painted pompous Etherwave (I didn't do the paint job, I traded this wacko surrealist artist friend a few foreign films for a wicked paintjob!). I'm so enthused that I must describe it: it's very 40's in it's enthused about EleKtricity look. Lotsa huge electric letters saying all sorts of weird stuff "Harness the Ether"; "Galvometrik"; "This machine runs on ELEKTRICITY!" etc. The top of the etherwave has the words Magic Theremyn (purposfully mispelt I'm told) and a center picture where some ant in a tux (looking suspicously like old Leon himself) is playing an old tube theremin with the caption "Harness the Ether"... Well that's my theremin, I usually run it through some reverb or delay, occasionnaly distortion or a ring modulator. I'll soon be reciving two analog keyboards and with a wee mod I'll have access to their filters and plan to run the ehterwave through that for hopefully interesting results... That's about it... My dream is to build a Terpistone! Any ideas? Think I could mod the PAIA kit to use as a terpistone? -- Urg Burglle Splatch? Just another solution to ALL of life's problems from Dylan David Wagner at: cx955@Freenet.Carleton.CA --RAA17766.894057723/freenet.carleton.ca-- -- Urg Burglle Splatch? Just another solution to ALL of life's problems from Dylan David Wagner at: cx955@Freenet.Carleton.CA From John_Mitchell@ascend.com Fri, 1 May 1998 14:35:15 -0700 Date: Fri, 1 May 1998 14:35:15 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Dave...I think my mind is going... Dave Miller wrote: >Hey johnm, I actually read one complete post of yours!!! ...and it only took 45 minutes. >If the theremin is so dreadful, why your interest in the instrument? I think I explained that in one of the posts you had sense enough to pass up. Suffice it to say that, by the time someone gets to Levnet, they are probably beyond the "I love the theremin! Don't you love the theremin?" stage. There are problems with the instrument that only those who have designed and/or played one can discuss and this is the place to do it. All the guy on the street knows is that the theremin is electronic, you don't touch it, and it goes woo. >You have succeeded in finding the difficulties of the instruments along >with its quirks, now why not do something constructive and address these >issues as a designer/engineer. Because I have already done so. The thereminette solves the arm stability problem, the vibrato problem, and the staccato problem. "All of the woo and none of the woe," as I say. It is, however, far less theatrical than the theremin and is consequently more suitable for studio work. But, like the theremin, it is inferior to the synthesizer. Are we therefore whistling Dixie to be extolling the virtues of an instrument whose place in music may actually be quite minor? Just what is the theremin's place? I disagree with Clara Rockmore that the theremin belongs in the pantheon of classical musical instruments. If it did, it would be there now. For all her considerable skill, she has essentially been a voice crying in the wilderness because, whether she likes it or not, the theremin is indeed more at home in the realm of the ethereal and the spooky. And there is certainly nothing wrong with that! But maybe the theremin has another place that nobody ever really explored before. That is why I found Pamelia's bass playing so fresh and interesting. Think about it: the response of the theremin is more linear and stable in the bass register, and a "soft staccato" is quite appropriate for bass. This is a whole new area to explore. But had I not been on Levnet, I never would have been alerted to go hear her performance. >You talk about fishing around for pitch. Perhaps you should try a pitch preview circuit. Pitch preview is only for getting one's initial bearings. Everybody--even Clara--has to fish. The better players just do it more quickly. Feedback and correction is the name of the game. That's what makes Jason's theremin playing robot possible. >I ask these questions only because I have read too many times your >concerns and at the same time have listened to your thereminette on the >Levnet CD. I happen to hear just as many "problems" with that >instrument. Alas, that particular piece doesn't adequately demonstrate the instrument's strengths. I submitted another work, but there wasn't enough room for it. But notice something? There is no vibrato used in Nocturne for Theremin, which is too often employed to disguise "fishing". Also note how often notes cut in at the proper place without the need for pitch preview. Just thought I'd point that out... >Please don't take this wrong, This is no flame. I'm just wondering when all the "concern" is going to turn >into something substantial to remedy the situation. Oh, I've been flamed more than a shish kebab in hell, so don't worry about that. Being a periodic curmudgeon is a tough job andI beg your indulgence as I fulfill this most sacred of duties. Rest assured that I am indeed getting answers to many of these philosophical questions, slowly but surely. And what better place to get them than Levnet? Where else can you find theremin designers, performers and even musicologists all in one convenient location? It's the intellectual equivalent of a strip mall. And who knows? You, Reid and Peter P. might one day convince me that tube instruments are indeed superior! ;-) johnm P.S. Almost forgot! Q: How many theremin players does it take to change a light bulb? A: None. They just stand there waving their arms, wondering why nothing's happening. From Planetgrog@aol.com Fri, 1 May 1998 18:28:24 EDT Date: Fri, 1 May 1998 18:28:24 EDT From: Planetgrog Planetgrog@aol.com Subject: Dave...I think my mind is going... In a message dated 5/1/98 9:50:09 PM, you wrote: <> I think what she really meant and should have said was that it belongs in the pantheon of Romantic musical instruments. Or maybe she meant to say Classic musical instruments, which it is, don't you think? If she was as widely recognized as Dr. Samuel Hoffman, I think the instrument would not be associated not only as something spooky and ethereal but as ... Romantic (which is really the style of music she played most on it). Just a thought... From Planetgrog@aol.com Fri, 1 May 1998 18:57:18 EDT Date: Fri, 1 May 1998 18:57:18 EDT From: Planetgrog Planetgrog@aol.com Subject: Dave...I think my mind is going... In a message dated 5/1/98 9:50:09 PM, you wrote: <> P.S. When walking bass, you don't fish... From flook@globalnet.co.uk Fri, 01 May 1998 23:44:29 GMT Date: Fri, 01 May 1998 23:44:29 GMT From: flook flook@globalnet.co.uk Subject: french band Air use a theremin Hi all, This evening I saw a UK music TV show which featured a French band called 'Air'. They used a Theremin, although I couldn't tell which make. It was approx. 8cm x 30some cm (well, that's based on how it looked on my TV!) with standard antennae. It was mounted on a mic stand. They didn't really use it for anything more than simple 'wooooeeeeeoooooooo' type noises. The band come from Versailles near Paris, so maybe someone over there may know more? Neil. ---------------------Neil Amison--------------------- sound engineer, gruftie, part time celt, theremaniac http://www.users.globalnet.co.uk/~flook http://members.tripod.com/~flook/nexus.htm From Planetgrog@aol.com Fri, 1 May 1998 20:04:32 EDT Date: Fri, 1 May 1998 20:04:32 EDT From: Planetgrog Planetgrog@aol.com Subject: Auer's book (on learning violin) You do it your way, we'll do it Auer's! **I know, corny***** Anyways, Auer's books are avaible through Amazon.com(if you ever want to check it out) From TheeXVirus@aol.com Fri, 1 May 1998 20:09:39 EDT Date: Fri, 1 May 1998 20:09:39 EDT From: TheeXVirus TheeXVirus@aol.com Subject: GIFT TAPE I just thought it might blow it out or something....don't understand exactly what that whole 'clipping' thing is....I do it once in a while, but set everything low until it hits the amp.... From TheeXVirus@aol.com Fri, 1 May 1998 20:14:38 EDT Date: Fri, 1 May 1998 20:14:38 EDT From: TheeXVirus TheeXVirus@aol.com Subject: french band Air use a theremin I have Air's cd, it's really good....that's all I can tell you. From dball@esper.com Fri, 1 May 1998 20:41:12 -0400 Date: Fri, 1 May 1998 20:41:12 -0400 From: David Ball dball@esper.com Subject: Dave...I think my mind is going... John M wrote: But, like >the theremin, it is inferior to the synthesizer. Are we therefore >whistling Dixie to be extolling the virtues of an instrument whose place in >music may actually be quite minor? Just what is the theremin's place? > >I disagree with Clara Rockmore that the theremin belongs in the pantheon of >classical musical instruments. If it did, it would be there now. For all >her considerable skill, she has essentially been a voice crying in the >wilderness because, whether she likes it or not, the theremin is indeed >more at home in the realm of the ethereal and the spooky. And there is >certainly nothing wrong with that! But maybe the theremin has another >place that nobody ever really explored before I've heard some pretty awful music played on violin and piano which are, needless to say, fairly well established as "classical musical instruments." Likewise, I've heard some pretty nice music played on cigar box fiddles, flower pot marimbas--you get the picture. Whether or not an instrument is an accepted classical musical instrument in entirely less relevant to me than "is the music I'm listening to right now enjoyable?" The musician makes the music--the instrument is just the tool. I've seen several exhibits by good photographers that featured photographs made with cheap plastic cameras, pinhole cameras, and other "inferior" tools. But the work was still good--the artist's vision overcame the limitations inherent in the tools to produce good art. Maybe the limitations even sparked the creativity just a little bit, making something new that couldn't or wouldn't have ever happened if the tool had been a Leica. John is right about the theremin's place in unexplored territory. Same thing could be said about any other instrument. If the instrument inspires the artist to create something of beauty, it has earned its legitimacy in my book. Inferior/superior--I don't buy any of that. Once again I say that sameness is boring, and variety is interesting. The theremin can offer a musician another sound, another tool, maybe some inspiration. Just depends on the hands that never touch it... Dave Ball PS--speaking of instruments offering "different sounds" and "vocal qualities" has everyone had a chance to hear the "Daxophone?" It really reminds me a lot of the theremin! From atrento@cybernex.net Fri, 01 May 1998 21:26:21 -0400 Date: Fri, 01 May 1998 21:26:21 -0400 From: Alex Trento atrento@cybernex.net Subject: review of midi-thermin In the May issue of Electronic Musician there's a review of the Midi Theremin. its pretty decent even though they credit the sounds from Good Vibrations to a theremin alex -- ***---phylum---*** http://www2.cybernex.net/~atrento/ From rmast@tezcat.com Sat, 2 May 1998 12:12:00 -0500 Date: Sat, 2 May 1998 12:12:00 -0500 From: Russell Mast rmast@tezcat.com Subject: On Tour. Hey gals and pals. I've just been skimming lately. Been pretty busy, and to top it offf, I recently re-injured an old wound on my right hand, which makes both typing and playing quite laborious. Anyway, one of the bands I play theremin for, Slink Moss and The Flying Aces (as featured on the Levnet CD), is going on a mini-tour soon. We won't be rocking them by the millions from giant stadia, but we do put on a good show and if you're in or near any of these towns, or know people who are, I always enjoy meeting fellow theremin enthusiasts. Here is the list of the places we'll be playing: May 9th Puffer's in Chicago 3100 S Halsted May 14 31st st Tavern in Pittsburgh 31st and Penn ave May 15 Crow Bar in State College PA 936 E college May 16th Phoenix Coffee House in Cleveland (actually Lakewood OH) 15108 Detroit ave May 19th - 7pm sharp! The Metro in Chicago 3730 N Clark Other than the show at the Metro, and possibly the on in Ohio, all shows start at Late:O'Clock. Call the clubs for exact times if you're sticking to a tight schedule. Hope to see some of you there. And spread the word to anyone in those areas who might be interested. Any friend of a levnetter... Thanks! -Russell Mast From duncan@pacificrim.net Sat, 02 May 1998 15:20:16 -0700 Date: Sat, 02 May 1998 15:20:16 -0700 From: Duncan Ermini-Leaf duncan@pacificrim.net Subject: Theremax problem I just completed my Theremax. I hook it into my amp and go to tune it. Instead of getting a tone output, I am hearing the radio (AM I think). Does anyone know why this is happening? From AKarlok@aol.com Sat, 2 May 1998 19:08:58 EDT Date: Sat, 2 May 1998 19:08:58 EDT From: AKarlok AKarlok@aol.com Subject: Theremax problem I'm a technical idiot, couldn't even build my etherwave right, but when I finished building it (the first time) I had the same proplem, you may want to check the ground wire, good luck Andy From dball@esper.com Sat, 2 May 1998 19:14:48 -0400 Date: Sat, 2 May 1998 19:14:48 -0400 From: David Ball dball@esper.com Subject: On Tour. Russell, Good to hear from you again! Best of luck on tour--sorry you're not coming further south... Dave Ball From duncan@pacificrim.net Sat, 02 May 1998 16:52:52 -0700 Date: Sat, 02 May 1998 16:52:52 -0700 From: Duncan Ermini-Leaf duncan@pacificrim.net Subject: Theremax problems With more detail: I have completed my Theremax kit and everything looks in order. No heat or smoke when turned on. However, I have these problems. The Pitch antenna does nothing. The volume antenna controls the pitch. The Volume Trim knob is controlling the pitch trim. The Audio Out gives radio reception with a faint tone in the background. The Gate/Trig gived the tone clearly. It's like the pitch system and the volume system have swapped and the volume system doesn't do anything. I should probably take this to PAiA tech support, but it's a weekend and I thought I might be able to get a response here sooner. From av599@lafn.org Sat, 2 May 1998 17:25:35 -0700 Date: Sat, 2 May 1998 17:25:35 -0700 From: Doug Forbes av599@lafn.org Subject: Theremax problems The adjustment of the four inductors ( in the metal cans ) is critical. The manual has you preset them in a way that will work but the frequency of operation may make local AM radio stations come in. The way to do it is to very carefully adjust the coils of the pitch circuit so that the pitch antenna works and then before you unhook the clip they tell you to hook up move the pitch frequency by adjusting the coils together a bit at a time until the radio is no longer heard. You pretty much have to do the same thing with the volume coils. The trick is to get them working at the same frequency and get the AM station out at the same time. Whatever you do do not break the slugs in the coils by turning them to far they only go a few turns either way ! Hope this helps. From epidiah@geocities.com Sat, 02 May 1998 20:41:57 -0500 Date: Sat, 02 May 1998 20:41:57 -0500 From: Epidiah Ravachol epidiah@geocities.com Subject: Theremax problems I had this very same problem. The PAiA page has something about this that helped me solve my problem. I had accidentally grounded out my pitch anntena and apparently something about the Theremax's design causes the volume antenna to...well they explain it better: "These false tones are settings where the Pitch sensing oscillator is weakly heterodyning with one of the Volume oscillators. It is easy telling this from the much stronger true null of the Pitch oscillators, but the original instructions did not stress strongly enough that the first time you null the pitch oscillators the L2 inductor core should be adjusted fully from one end to the other while listening for the strongest heterodyne tone. "The apparent transposition of the pitch and volume antennae is only one of the many truly strange problems that can result from this kind of mis-tuning. It may also produce a generally noisy output (hiss and and high frequecy whines) and can sound like Radio Frequency Interference from radio stations." -from http://www.PAiA.com/therefaq.htm#falsenull -Eppy From dstork@ibm.net Sat, 02 May 1998 22:03:58 -0700 Date: Sat, 02 May 1998 22:03:58 -0700 From: Dave Stork dstork@ibm.net Subject: Trills--a cheater's approach As predicted, I got the bug and pulled my theremin prototype out of mothballs. Naturally, I couldn't resist changing the circuit again. Anyway, while I was testing it, I made an interesting discovery. I was looking at the theremin's output on the oscilloscope; and while playing pitches with my right hand, I went to adjust the scope sweep controls with my left and accidentally touched the (grounded) scope chassis. There was a discrete pitch jump of one whole tone. I found that by drumming my fingers on the scope chassis, I could play trills easily. The reasons for this happening are simple enough to understand. The theremin chassis was also grounded. By touching part of my body to the scope chassis, I increased the capacitance from antenna to circuit ground via my person, detuning the variable pitch oscillator by a correspondingly larger amount. Perhaps one could mount a small metal plate on top of a theremin cabinet, connect this plate to the instrument chassis, and use it as a "trill pad." With proper positioning relative to the volume control antenna, one could integrate this "trill pad" into existing technique without too much trouble. Anyway, there it is for anyone who cares to try it. If you think it's a shitty idea... well, then, just don't do it. (Grin). -- Dave Stork Stork Audio dstork@ibm.net http://members.aol.com/StorkAudio From gbswift@telis.org Sat, 02 May 1998 20:30:29 -0800 Date: Sat, 02 May 1998 20:30:29 -0800 From: Gary B. Swift gbswift@telis.org Subject: Trills--a cheater's approach Dave Stork wrote: > > There was a discrete pitch jump of one whole tone. I found that by > drumming my fingers on the scope chassis, I could play trills easily. Dave (Stork), I believe you can hear Dave Miller creating exactly this "trill" effect on his contribution to the Levnet Compilation CD, "Plexus III." I just assumed he did this by touching the metal plug housing on the instrument cable from his Etherwave output to his amplifier. (At least, that's the way I've done it). How about it, Dave (Miller)? =gary= From Planetgrog@aol.com Sun, 3 May 1998 07:12:45 EDT Date: Sun, 3 May 1998 07:12:45 EDT From: Planetgrog Planetgrog@aol.com Subject: Howdy! Does anybody know if there is such a thing as touch sensitive effects pedals? Not like a keyboard, but like, hmmm, how do I describe this....the pedal only works if it senses your foot on it but when you take your foot off, it bypasses the effect( instead of always clicking a bypass button thing because that takes up time). From dball@esper.com Sun, 3 May 1998 07:27:46 -0400 Date: Sun, 3 May 1998 07:27:46 -0400 From: David Ball dball@esper.com Subject: Trills--a cheater's approach Dave Stork wrote: >As predicted, I got the bug and pulled my theremin prototype out of >mothballs. Naturally, I couldn't resist changing the circuit again. >Anyway, while I was testing it, I made an interesting discovery. I was >looking at the theremin's output on the oscilloscope; and while playing >pitches with my right hand, I went to adjust the scope sweep controls >with my left and accidentally touched the (grounded) scope chassis. >There was a discrete pitch jump of one whole tone. I found that by >drumming my fingers on the scope chassis, I could play trills easily. At last year's theremin wing ding up in Maine, Russell Mast had arranged a long distance-via telephone radio theremin broadcast in Ohio. A bunch of us gathered near the payphone at our dorm home at one in the morning or so to play theremin (that's a story in itself!). One of the discoveries made that night was the payphone induced artificial trill. As I recall we exploited that effect pretty fully, with many variations employed. It seems like some of this was documented in Ross's recent video--at least the long distance broadcast if not the trills. A trill a minute... Dave Ball From DavesTvox@webtv.net Sun, 3 May 1998 09:44:34 -0500 Date: Sun, 3 May 1998 09:44:34 -0500 From: David Miller DavesTvox@webtv.net Subject: Trills--a cheater's approach Hey =gary= and all, What I used was a two foot long aluminum ruler on top of my theremin. (Be sure to have felt laid out on top of the instrument, or you risk scratching the finish). Actually, if I had the capability, I would have edited alot of that section down for concisement. My aleatoric excursion at that point does get to be a bit much. Wonder if Cecil Taylor ever feels that way. My feeling was "Hey, this is different". Most of my playing and all of my practice is of tonal things- melodies, etc. I'm sure that impression is lost on the recording. Anyway, back to the trill thing- several things need to be addressed. The trill interval is always closer together nearing the top range of the instrument, thus the metalic item needs to be able to move in concert with the range you happen to be playing in. The whole thing really relates to the distance from the pitch antenna and the ruler. For low trills, the placement is farther away. Higher- closer. Smooth trills can be made, but this method of touching metalic items has the tendency to produce a slightly louder "release" note. In other words, when you remove you finger, the sound (at times) can be louder than the sound when touching the ruler. I found it quite fun to slide the finger on the ruler then at times let go. Really made for an unusual sound. Still, I'm sure this part of the track bored most people, but I can live with that. A group of us really did have a great time playing the pay phone at the dorm during the Theremin Festival last year. I'm really surprised no one complained about us playing theremin until 1 in the morning. (Well, Ross and I did get one complaint from a fellow participant when we started playing around 2:30 in the morning in the dorm room!). Dave M From DavesTvox@webtv.net Sun, 3 May 1998 11:02:34 -0500 Date: Sun, 3 May 1998 11:02:34 -0500 From: David Miller DavesTvox@webtv.net Subject: Dave...I think my mind is going... Howdy folks, John, I agree with most of your post! Sure, I noticed right off that your track contained no vibrato (no staccato notes either). I also noticed the upleasant tone quality, but to each his own. You mention Clara Rockmore, and I totally agree with you. I feel in a way she drove one big nail into the theremin's coffin, and I'll explain why. First, I mean no disrespect to Mrs. Rockmore. It is my impression (and I feel it to be correct) that Mrs. Rockmore was concerned about legitimizing the instrument. Showing the public that yes, this instrument can play melodies, etc. I know this feeling. When sitting in the audience during a performance of Grainger's "Free Music" for four theremins, I noticed the look on the audience's faces. I kept thinking to myself, "We need to be playiing _melodic_ things, or these people will just think we are farting around regardless what kind of technical proficiency we possess". Who is to blame? The composer who lacks the skill to exploit the theremin's personality? The performer? The uneducated audience? I've yet to make my point why I feel Clara is partly to blame for the theremin's future. That's coming up shortly. Mrs. Rockmore did try to solve the "problem". She performed works that did explore the theremin's character. I think people have it in their minds that all she played was Russian romantic music, but this is not correct. She performed works such as the Fuleihan, which showcased some of these personalities (the gliss, or portamento, etc). Still, I feel that she wanted the theremin to be a cello. She found her sound and did not explore microtonal aspects of the instrument. This is not bad- this is just how SHE approached the theremin. I think we should review how Prof. Theremin envisioned his instrument. First, let's take a look at tonality. Here's what Prof. said in 1927- "My apparatus frees the composer from the despotism of the twelve-note tempered piano scale, to which even violinists must adapt themselves. The composer can now construct a scale of the intervals desired. He can have intervals of thirteenths [13 notes to the octave], if he wants them. In fact any gradation detectable by the human ear can be produced." Here, Prof. Theremin clearly indicates the instrument's ability for playing "in between the notes'. The ability to construct microtonal scales. (Too bad Harry Partch never came across a theremin). Also important is the tone, the sound of the theremin. We have become so caught up in our search for the "Clara sound" that perhaps we should review what Prof. Theremin said in regard to tone color. (Remember, Prof. was really into sound and color. This has been documented in early works). Here are his comments, from the same year, 1927- "To this [the theremin's tonality] must be added an entirely new range of tonal colors. Hitherto the composer has had only about twenty tone colors, represented by as many different types of orchestral instruments. I give him literally thousands of tone colors." Did you get that- THOUSANDS of tone colors. What happened??? We settled only on Clara's tone??? Read what Prof. said- "To this _must_ be added an entirely new range of tonal colors". So in regard to the above comments from Theremin himself, I feel Mrs. Rockmore did little to promote the theremin how Prof. Theremin first envisioned it. Again, I'm not saying that is bad. It was just her approach. Yet we accept her approach as gospel. Clara Rockmore is to the theremin what Ansel Adams is to photography. Both gave to us the technique to secure whatever it is we are after. Their choice of what constitutes art may and will differ from what others think, and that is good. It is up to us, individually, to define art in our own terms. Just because Clara chose certain works does not dictate what others should play. She gave us the only proven theremin playing technique. That is what we need to study. To johnm- If you were to "correct" these certain "problems" with the theremin and build an instrument, what would you have? Who would purchase it- the theremin crowd? I doubt. Don't get me wrong. I too have asked myself these questions. As you know, Tom Polk and myself are constructing an instrument based on Paul Tanner's original. It is capable of playing circles around the theremin in some regards. I think you may find a few theremin enthusiasts that would welcome such an instrument, but at the same time, I think the majority would stick to the "real" theremin because it is what it is. People like a challenge. People like the theremin because (or in spite) of what it is. These "problems" that you point out are what gives the theremin its personality, and in many cases, is what draws the curious to it. As for tube theremins- you have never heard me try to win anyone over to them. Heck, I own five theremins and all are transistor theremins! With so many Daves on the list, you must have me confused with another. I have no immediate plans for a tube theremin. So... in conclusion to this long drawn out Sunday morning post, perhaps we should consult Prof. Theremin's words for guidance. Dave M (just another one of the Daves) From duncan@pacificrim.net Sun, 03 May 1998 11:05:06 -0700 Date: Sun, 03 May 1998 11:05:06 -0700 From: Duncan Ermini-Leaf duncan@pacificrim.net Subject: Theremax problems Thing is L2 has no effect on pitch L3 & L4 are controlling pitch. Any adjustments to L1 or L2 have no effect on the pitch or voulume. Also, turning the Timbre knob fully clockwise will take out the radio interference. > Date: Sat, 02 May 1998 20:41:57 -0500 > From: Epidiah Ravachol > To: levnet@korrnet.org > Subject: Re: Theremax problems > Message-ID: <354BCB65.58B9@geocities.com> > > I had this very same problem. The PAiA page has something about this > that helped me solve my problem. I had accidentally grounded out my > pitch anntena and apparently something about the Theremax's design > causes the volume antenna to...well they explain it better: > > "These false tones are settings where the Pitch sensing oscillator is > weakly heterodyning with one of the Volume oscillators. It is > easy telling this from the much stronger true null of the Pitch > oscillators, but the original instructions did not stress strongly > enough that the first time you null the pitch oscillators the L2 > inductor core should be adjusted fully from one end to the other > while listening for the strongest heterodyne tone. > > "The apparent transposition of the pitch and volume antennae is only one > of the many truly strange problems that can result from > this kind of mis-tuning. It may also produce a generally noisy output > (hiss and and high frequecy whines) and can sound like > Radio Frequency Interference from radio stations." > -from http://www.PAiA.com/therefaq.htm#falsenull > > -Eppy From olivia@christa.unh.edu Sun, 3 May 1998 14:41:19 -0400 (EDT) Date: Sun, 3 May 1998 14:41:19 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Festival Poster On Sat, 25 Apr 1998, AKarlok wrote: > Olivia, last years poster was great, I have it framed in my music room next to > my framed An Electronic Odyssey poster, they look perfect together, another > new guy, Andy Cool! Actually, I had this pairing in mind when I commissioned the designer, Richard Sheinaus (Gotham Design, NYC), to work on it. The film poster, in green, conjures up the spookiness of the theremin's Hollywood history, whereas the festival poster, in electric violet, refers more to the machine-age 1920's. I think they play off each other nicely. Olivia From olivia@christa.unh.edu Sun, 3 May 1998 15:38:46 -0400 (EDT) Date: Sun, 3 May 1998 15:38:46 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Kavina CD On Wed, 29 Apr 1998, Pamelia wrote: > O.K., we need a shopping list for all the cds with theremin on them. So far, I > just know about Clara's cd and the one with Nadia, oh and the Beach Boys. I > never knew about the Levnet one until it was mentioned here. What sections in > the music store could we find them? Which ones should we keep an eye out for > (vintage records)? Who's playing on them? Which is your favorite one (doesn't > have to mean the playing is virtuostic)? Any new cds coming out in the future > to look for? Dear Pamelia and all interested others, This is a reminder about Lydia Kavina's upcoming debut CD, featuring vintage theremin repertory by Martinu, Schillinger, Grainger and others, as well as newly composed works by Kavina herself, Jorge Antunes and others. It is still available at the pre-publication price of $12 plus shipping and handling ($1.50) for a total of $13.50. It is a co-production of Mode Records and New Music Alliance, with financial support from Big Briar, Inc. and Wavefront Technologies. It will be a WONDERFUL recording, on a par with the Rockmore CD. The release date has not yet been finalized, but will be some time this summer. Thanks to everyone for your patience! All pre-publication orders will be filled before the CD hits the stores, so order now! Please note the new address for sending your orders: New Music Alliance Attn. Olivia Mattis 12 Pine Street Portland, ME 04102 Checks should be payable to New Music Alliance. Yours, Olivia From Planetgrog@aol.com Sun, 3 May 1998 16:58:44 EDT Date: Sun, 3 May 1998 16:58:44 EDT From: Planetgrog Planetgrog@aol.com Subject: Dave...I think my mind is going... In a message dated 5/3/98 4:06:42 PM, you wrote: <> SO, TRUE!!! With the theremin, we are no longer limited to the Western scales that we are stuck with on other instruments. How about using it in Indian music? 22 notes in an octave, from what I recall. African music, Arabic. We can explore some of Wendy Carlos' scales, or we can start making our own,,,, or we can throw all of that out the window and use pure emotion--as many children love to do when first approaching a theremin. That's just the pitches we are allowed from the theremin!!!!! But then, when you're playing before an audience that most likely won't know anything but our 12tone scale, it could be frustrating to them--and us. But you know what? If you're truly enjoying what you do with it, nothing matters. From llbrown@sophia.smith.edu Sun, 3 May 1998 17:23:55 -0400 (EDT) Date: Sun, 3 May 1998 17:23:55 -0400 (EDT) From: Lorna L Brown llbrown@sophia.smith.edu Subject: Theremax problem Hi Duncan, Tuning the slugs was the most frustrating part for me (in building the Theremax). You reach the point where the power LED comes on, and you still don't know if everytihng is even assembled right! One thing to keep in mind is that when you use any sort of unshielded test jumper wires (like the instructions for the Theremax direct you to), you are bound to pick up radio interference... for me, it went away once I removed the jumper. There are also a couple of spots in tuning where you get a sound similar to what is described in the instructions, but they are not the sweet spot. Good luck, and have patience- keep trying - when you hit the right spot, you'll know... the signal gets much stronger. If you're really stuck - PAiA Tech Support is excellent. Best, Lorna Brown From Protist@aol.com Sun, 3 May 1998 17:55:44 EDT Date: Sun, 3 May 1998 17:55:44 EDT From: Protist Protist@aol.com Subject: C.D. for shopping list Hi guys, Pamelia asked for all the CDs with theremin on them, so here is a really obscure one that has theremin (unverified) on one track: "Monster Rock 'N' Roll Show" on the DCC Compact Classics label, (818) 993-8822 #DZS-050, copyright 1990 It has a cheesy 60s rock song called "The Green Slime" which is from the original soundtrack from the movie of the same name. The theremin is prominant through pretty much the whole song, and the player is very good about pitch. I bought mine several years ago, so I don't know if it is still available. Plus it might not be worth your while to get a CD with just one theremin track, but you asked. - Kirk S. From pluto@4link.net Sun, 03 May 1998 19:36:17 -0700 Date: Sun, 03 May 1998 19:36:17 -0700 From: Ross Marshall pluto@4link.net Subject: Green Slime Protist wrote: > > Hi guys, > Pamelia asked for all the CDs with theremin on them, so here is a really > obscure one that has theremin (unverified) on one track: > "Monster Rock 'N' Roll Show" > on the DCC Compact Classics label, (818) 993-8822 > #DZS-050, copyright 1990 > It has a cheesy 60s rock song called "The Green Slime" which is from the > original soundtrack from the movie of the same name. The theremin is prominant > through pretty much the whole song, and the player is very good about pitch. I > bought mine several years ago, so I don't know if it is still available. Plus > it might not be worth your while to get a CD with just one theremin track, but > you asked. > - Kirk S. ............................................................ I have a VHS copy of Green Slime? Send donation for dubbing. Ross Marshall 8055 Lankershim #2 N. Hollywood, Ca. 91605 1-818-504-4135 From dstork@ibm.net Sun, 03 May 1998 22:07:18 -0700 Date: Sun, 03 May 1998 22:07:18 -0700 From: Dave Stork dstork@ibm.net Subject: Howdy! Pamelia wrote: > Does anybody know if there is such a thing as touch sensitive effects pedals? > Not like a keyboard, but like, hmmm, how do I describe this....the pedal only > works if it senses your foot on it but when you take your foot off, it > bypasses the effect( instead of always clicking a bypass button thing because > that takes up time). > That would be easy enough to do... The effect pedal just needs to be converted to momentary switching action. In older effects with mechanically latching switches, this would only involve changing the switch to a momentary type. In newer pedals, it would involve some modifications to the flip-flop circuitry that controls the switching. At any rate, it's a do-able job. Do you have a particular pedal in mind? Tell me what it is, and I'll dig out the schematic and cook up a modification for you. -- Dave Stork Stork Audio dstork@ibm.net http://members.aol.com/StorkAudio From clester@137.com Mon, 04 May 1998 00:27:39 -0700 Date: Mon, 04 May 1998 00:27:39 -0700 From: Charlie Lester clester@137.com Subject: LEVNET digest 299 Hi Rosss... Ross Marshall said, --> I have a VHS copy of Green Slime? <-- I'm kinda puzzled by the ?-mark. Does that mean you are unsure whether or not you have the copy of Green Slime and are asking ~us~ if you do have it? [just teasing] --> Send donation for dubbing. Ross Marshall 8055 Lankershim #2 N. Hollywood, Ca. 91605 1-818-504-4135 <-- Umm Ross, is "Green Slime" in the public domain? You might want to check on this before you volunteer to copy it for folks. I'd really hate to see you get in trouble for 'pirating' a copyrighted film. ~ ~~~ ~~~~~~~ Charlie From pluto@4link.net Mon, 04 May 1998 01:38:57 -0700 Date: Mon, 04 May 1998 01:38:57 -0700 From: Ross Marshall pluto@4link.net Subject: Green Slime Charlie Lester wrote: > > Hi Rosss... > > Ross Marshall said, > > --> I have a VHS copy of Green Slime? <-- > > I'm kinda puzzled by the ?-mark. Does that mean you are unsure whether or > not you have the copy of Green Slime and are asking ~us~ if you do have > it? > > [just teasing] > > --> Send donation for dubbing. > Ross Marshall > 8055 Lankershim #2 > N. Hollywood, Ca. 91605 > 1-818-504-4135 <-- > > Umm Ross, is "Green Slime" in the public domain? Why don't you call them and seed if they care? At least everyone knows now, where they can get a non-profit copy. I really don't think most are alive to care. There are tons of old Sci-Fi junk films floating around that the BIG-8 care nothing about. Most stopped making money 30 years ago. They are 'dead' movies. RSM From pluto@4link.net Mon, 04 May 1998 01:41:13 -0700 Date: Mon, 04 May 1998 01:41:13 -0700 From: Ross Marshall pluto@4link.net Subject: Green Slime Charlie Lester wrote: ...volunteer to copy it for folks. I'd really hate to see > you get in trouble for 'pirating' a copyrighted film. > Actually, it's great advertising for them. Maybe enough interests, they'll re=release it. Care to wait? RSM From pluto@4link.net Mon, 04 May 1998 01:50:39 -0700 Date: Mon, 04 May 1998 01:50:39 -0700 From: Ross Marshall pluto@4link.net Subject: Get Green Slime will its hot! Charlie Lester wrote: > the copy of Green Slime and are asking ~us~ if you do have > it? Actually I do have a copy. BUT!, I will send a copy of GREEN GOO. A public domain cheese satire about some green goo blobs infesting a space station, using humans and the energy system as food. They come from an astroid bypassing earth and have rubbery hose-like arms that suck the energy out of you. The Space Station used to inspect the astroid. GREEN GOO BLOBS live on this astroid. They feed on heat, light and electricity. They infest the Station. The few survivors have to blow the space station up to rid earth of the threat. This one I can send to you all. Same cast, same shots as the first show. I'll just call it "GREEN GOO FROM ASTROID B". Donations postpaid.80m RSM From theremin1@worldnet.att.net Mon, 4 May 1998 05:15:01 -0700 Date: Mon, 4 May 1998 05:15:01 -0700 From: Arthur Harrison theremin1@worldnet.att.net Subject: LEVNET digest 299 The inhabitant of planet Grog asked: >Does anybody know if there is such a thing as touch sensitive effects pedals? >Not like a keyboard, but like, hmmm, how do I describe this....the pedal only >works if it senses your foot on it but when you take your foot off, it >bypasses the effect( instead of always clicking a bypass button thing because >that takes up time). I say: This is entirely doable with any number of capacitance proximity devices. Sounds like a nice idea for a small kit. -Art From royber@total.net Mon, 4 May 1998 07:40:41 -0500 Date: Mon, 4 May 1998 07:40:41 -0500 From: Bernard Roy royber@total.net Subject: War with Reid Dave Ball wrote: >On the "gift tape," hearing the difference in the tone of Clara's instrument >when Reid was merely showing its range, and when he was actually playing it >was very revealing. Hearing that same instrument when played by Clara was >even more revealing (you sounded good, Reid, but not THAT good :>P ). When >just glissing up the instrument's range, the tone was nice, but not that >exciting. The addition of some vibrato really started bringing the >"soprano" quality out. Vibrato technique, I believe, has much to do with >the soulfulness or lack thereof in the theremin's tone--I think to a higher >degree than on stringed or wind instruments. Much more like the human >voice, in my estimation. > I'm sure you're familiar with Dr. Rudolph Frank's comments on Lev Termen's very first public demonstration in Europe (Frankfort, 1927) but some newcomers on the levnet may not be acquainted with it. Note that his first observations were that the sound was "mechanical and without the quality of soul". ***************************** "From a small mahogany box which serves likewise as a music stand, there rises vertically a metal rod about 40 centimeters long, while to the left, there extends another rod bent into the form of a ring. On the floor is a dry cell battery and in the background is a loudspeaker. Box, battery and loudspeaker are connected by wires. A young man, the typical engineer, takes his place in front of this unpretentious desk. It is Léon Thérémin, presenting for the first time before an audience his new invention - an instrument that produces music solely by the free movement of the hands in space. Slowly he lifts his right hand, holding it at a distance of about one meter from the upright metal rod. The movement produces a sound, the tone of which rises gradually until it produces a pitch that no instrument, and far less the human voice, is capable of attaining. Now he raises his left hand gently above the ring-shaped rod, until it is about the height of his head. As he does so, the note sounded grows louder and louder. Then he lets his hand fall, as if to soothe the sound, and it grows softer until it dies out in the tenderest pianissimo. It is evident that we have here the essential conditions for the production of music - a variation of pitch on the one hand, and in intensity on the other. The sounds, however, are more or less mechanical and without the quality of soul. The inventor himself points out that they lack the sympathetic quality which we call "heart". In short they do not vibrate like the music invoked by the human throat and breath, or by the human hand from instruments of wood or metal. Incredulous, we gaze upon the young engineer. His looks grow tender. The inventor becomes the musician. The fingers of his right hand vibrate like those of a violinist when he presses the strings. They vibrate in the free air, and a marvelously sweet tone sweeps through the room. Invisibly a soul sings, and we listen thrilled. At one moment it sounds deep as a organ note, then at another like a perfect viola, or a violin from the hand of one of the old mater craftsmen. Suddenly it resembles a flute, and then a huntsman's horn. Whole notes, halves, quarters, yes, even eighth notes are thus drawn from the electric field around the antennas merely by the motions of the bare hands. There is no discord perceptible, even when this marvelous and miraculous music is accompanied by a performer upon the grand piano. The works of such great composers as Greig, Saint-Saëns, and Scriabin are played. It is wonderful indeed how remote the tones of the piano sound in comparison with the vital fullness and resonant force of those which flow from the mysterious electrical currents under the hands of Thérémin. As if these marvels were not enough, Thérémin begins to repeat the piece. But what is this? The tones no longer come from the same place as before. We turn out heads: the sounds come to us like an echo - from behind us, from the highest, farthest corners of the room! We learn that there are alternating currents of varying frequencies which are conducted from the human body over the apparatus, though they are entirely independent of the body. The approach of the hands effects the frequency of the alternating currents which surround the antennas. The nearer the finger comes to the vertical rod, the higher the note produced. The further the hand from the ring-shaped antenna, the louder the sound. By these means are obtained every possibility of musical expression. The tone follows, in the minutest particular, the vibration of the fingers, the rhythm of the blood. If one were to increase the strength of the current , even to two kilowatts only, a truly disturbing effect would be produced by the transformed current. The amazing echo, which I have already mentioned, was formed merely by the reversal of the current. I firmly believe that in later times, when the present invention is perfected and elaborated, we shall refer to the performance purely and simply as "music". Then it will be recalled that it was first presented to the world on August 4, 1927 at the City of Frankfort's celebrated exhibition MUSIC IN THE LIFE OF THE PEOPLE." From vermeere@nlceicl1.serigate.philips.com Mon, 4 May 1998 14:49:10 +0200 Date: Mon, 4 May 1998 14:49:10 +0200 From: vermeere@nlceicl1.serigate.philips.com vermeere@nlceicl1.serigate.philips.com Subject: Subsonic Theremins (was: Re: LEVNET digest 295) Subject: Subsonic Theremins (was: Re: LEVNET digest 295) Hi, Arthur wrote: >Peter said: >> ... and am a designer of integrated circuits by day. >I ask: >Would you kindly design an LSI IC expressly for a nice Theremin? >(Oh, I just can HEAR the groans from those transistorphobes! (:) This would be nice, but unfortunately they don't allow us to integrate all kind of goodies here :-( But: about a year ago, I read about work on the integrating of tubes (sure, no typos in the previous line: integrated tubes. As it seems, it can be done ! It's still experimental and a bit unpractical but someone at a technical university in the Netherlands has succeeded in integrating some. Because of the still low current densities, they put lots of them in parallel. And about heterodyning vs control voltages: >>Hey, I find voltage controlled oscillators quite romantic, too! I'm sorry I'm not able to join you in this feeling - at least the VCO's that I encounter in my work aren't that romantic :-) They're just a pile of transistors that want to be put on silicon to perform this or that non- theremining function... re: bass sounds >>Theremin (Longwave) that's under construction now can make it to 40 Hz. >>This low will be enough for now for me, but I could imagine that several >>Theremins can go lower than this. >Art brags: >How 'bout 13.75 hertz of pure synthesized sine wave? (from my own units) >Now, you can really FEEL that! Whoa, that's some ! From a VCO (hmm :-) or 'heterodyned' ? (whoa again) And no problem here with this kind of bragging - at least for me it's informative - ... & fustrating :-) I thought to have something nice: 40 Hz is below the E-string of my bass when not detuned (that's 41.2 Hz then - I'm not into five-string basses) and then there's someone else his theremin capable of 13.75 !! Are these frequencies allowed by law ? Bye, Peter From royber@total.net Mon, 4 May 1998 07:47:59 -0500 Date: Mon, 4 May 1998 07:47:59 -0500 From: Bernard Roy royber@total.net Subject: How many... How many thereminists does it take to screw in a light bulb? One. Clara Rockmore. When other thereminists try it, we remain in the dark. From royber@total.net Mon, 4 May 1998 08:02:54 -0500 Date: Mon, 4 May 1998 08:02:54 -0500 From: Bernard Roy royber@total.net Subject: The horror of polyphony Pamelia said, re: J.M.'s observations about theremin polyphony: >That's like assuming a person couldn't possibly sing and play the theremin >accompanying without sounding dreadful....I don't think Clara sounded dreadful >doing it.... > >You must witness it (polyphonic theremin) being done sometime by somebody >with good ears before coming up with the dreadful conclusion!!! > >I understand what you're saying though and know how dreadful it can sound. Even Clara herself (on the new Big Briar interview tape) said she was unclear about exactly HOW the polyphonic theremin would work. If one hand controls voice 1, and the other controls voice 2, what controls the volume? Are there independent volume circuits for each voice, or are they both tied to one circuit? There are so many questions and quite frankly, I have never heard anyone play the theremin accurately while attempting to perform any other activity. Most of us have a hard enough time trying to play it passably in the traditional way! It's certainly quite possible for a human to control multiple voices, we do it all the time on other instruments, but can it be done gesturally with real precision? I dunno. Sceptically yours, OOOOOOooooo P.S. John Mitchell is just being the devil's advocate (a role I used to play myself when I had more time). Everybody ends up hating you, but it's lots of fun. From olivia@christa.unh.edu Mon, 4 May 1998 09:52:26 -0400 (EDT) Date: Mon, 4 May 1998 09:52:26 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Polyphonic theremin Peter mentioned Theremin's polyphonic instrument, and wondered, with Clara, how it would be played. Let me quote you the snippet from my 1989 interview with Theremin that concerns this instrument: ----------------------------------------------------------------------- Mattis: You spoke about a polyphonic instrument. Did it exist? Theremin: Yes, I did make such an instrument. A person could regulate one voice, or at the same time could add two or three more voices which would be in some sort of correct intervallic, I mean chordal relationship in some natural pitch system. You change the pitch with the right hand just as it was with my other instruments, and the amplitude with the left hand. But then if you move the left hand from left to right, you can select 12 or 13 different intervals in exact relation to the melody--3:4, 5:7, and so on. Mattis: So there were two antennas for the left hand, one for the volume and one to select the chords? Theremin: That is correct. Mattis: Does the instrument still exist? Theremin: I had the instrument in the university in a special place where I demonstrated it for my lectures. But the university was reorganized and rooms reassigned. The instrument was left in a room for four years, where people could come and gradually dismantle it. So now it is in a completely dismantled and ruined condition at the university somewhere. From gbswift@telis.org Mon, 04 May 1998 07:31:01 -0800 Date: Mon, 04 May 1998 07:31:01 -0800 From: Gary B. Swift gbswift@telis.org Subject: be careful with VERY low frequency sound (if it's "loud") Peter wrote: > > ...40 Hz is below the E-string > of my bass when not detuned (that's 41.2 Hz then - I'm not into five-string basses) > and then there's someone else his theremin capable of 13.75 !! Are these frequencies > allowed by law ? Peter, I realize that you're just kidding, but there is a real hazard with very low frequency at a high sound pressure level. A few decades ago, there was some experimentation with such infrasonic (7 Hz) sound generators for battlefield use. I vaguely recall an experiment (in Europe?) with one such generator that resembled a giant police whistle. Seems the lab technician was in the room with the "whistle" when the air supply was accidentally activated from another room. By the time the air supply was isolated, the technician was either dead or rapidly dying. Cheers! =gary= From joan@mediaone.net Mon, 04 May 1998 12:43:34 +0000 Date: Mon, 04 May 1998 12:43:34 +0000 From: joan joan@mediaone.net Subject: Kavina CD > Olivia, Thanks for the post! My check is in the mail. Joan > > > Date: Sun, 3 May 1998 15:38:46 -0400 (EDT) > From: Olivia Mattis > To: Multiple recipients of list > Subject: Kavina CD > Message-ID: > > > Dear Pamelia and all interested others, > > This is a reminder about Lydia Kavina's upcoming debut CD, featuring > vintage theremin repertory by Martinu, Schillinger, Grainger and others, > as well as newly composed works by Kavina herself, Jorge Antunes and > others. It is still available at the pre-publication price of $12 plus > shipping and handling ($1.50) for a total of $13.50. > > It is a co-production of Mode Records and New Music Alliance, with > financial support from Big Briar, Inc. and Wavefront Technologies. > > It will be a WONDERFUL recording, on a par with the Rockmore CD. The > release date has not yet been finalized, but will be some time this > summer. Thanks to everyone for your patience! > > All pre-publication orders will be filled before the CD hits the stores, > so order now! > > Please note the new address for sending your orders: > > New Music Alliance > Attn. Olivia Mattis > 12 Pine Street > Portland, ME 04102 > > Checks should be payable to New Music Alliance. > > Yours, > Olivia > From AKarlok@aol.com Mon, 4 May 1998 13:46:01 EDT Date: Mon, 4 May 1998 13:46:01 EDT From: AKarlok AKarlok@aol.com Subject: the CD list As far as fifties sci-fi theremin soundtracks go, I believe the movie "Queen of Outer Space" has a pretty good theremin theremin part. Also a group called The Forbidden Five had a 45 out(I'm not sure of the year, I only have a tape) that a parody of the Martin Denny/Quite Village sound called Enchanted Farm, and the flip side, R.F.D. Rangoon. They're a couple of fun goofy tunes, but have soom good,well played theremin parts (at least I hope it's theremin) Andy From lorelei@pdi.com Mon, 4 May 1998 10:48:30 -0700 (PDT) Date: Mon, 4 May 1998 10:48:30 -0700 (PDT) From: Lorelei David lorelei@pdi.com Subject: Theremax problem Well... now that we're discussing techie stuff about Theremax's, I was wondering if any other Theremax folks have the same problem I do. When I turn my volume all the way down on the theremin, I can still hear it coming out of the amp, albeit very quietly, but it's loud enough for my band members to hear between sets and they get pretty upset about it. This is true even when I'm touching the volume loop, but for some reason the only time I get complete silence is when I'm touching the pitch antenna. Other than that slightly annoying problem (well, and falling out of tune upon transport) the Theremax has been working quite well... ---Lorelei From RSRalston@aol.com Mon, 4 May 1998 15:02:50 EDT Date: Mon, 4 May 1998 15:02:50 EDT From: RSRalston RSRalston@aol.com Subject: Theremax problem David, I had the exact same problem you describe here with the Theremax I built (what do you want for $100.00). Needless to say, I was extremely disappointed. After an email exchange w/PAiA and others, it was determined that the only thing that would remedy the situation was to get a different theremin. I sold my completed Theremax to a friend who didn't mind that annoying problem then swore off the PAiA kit forever! - Randy In a message dated 98-05-04 13:54:43 EDT, lorelei@pdi.com writes: << Well... now that we're discussing techie stuff about Theremax's, I was wondering if any other Theremax folks have the same problem I do. When I turn my volume all the way down on the theremin, I can still hear it coming out of the amp, albeit very quietly, but it's loud enough for my band members to hear between sets and they get pretty upset about it. This is true even when I'm touching the volume loop, but for some reason the only time I get complete silence is when I'm touching the pitch antenna. >> From John_Mitchell@ascend.com Mon, 4 May 1998 12:01:20 -0700 Date: Mon, 4 May 1998 12:01:20 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Easy trills Dave Storke wrote: >Perhaps one could mount a small metal plate on top of a theremin >cabinet, connect this plate to the instrument chassis, and use it as a >"trill pad." Beat cha to it Dave! ;-) The Thereminette (the virtues of which I have touted ad nauseam on Levnet) has a tiny antenna called the "blip stud" in addition to the regular pitch antenna. To play a trill, you simply touch the blip stud in rapid alternations. You can also get an extremely expressive violin-like vibrato by rocking your finger back and forth near the stud. johnm From John_Mitchell@ascend.com Mon, 4 May 1998 12:41:54 -0700 Date: Mon, 4 May 1998 12:41:54 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Dave...I think my mind is going... Dave M. wrote: >John, I agree with most of your post! WHAT? I...I... think I'm going to pass ou.......*Thud* OK, I'm revived. Frankly I agreed almost entirely with your last post and, to an extent with this one. That is, until you said: >Sure, I noticed right off that your track contained no vibrato (no >staccato notes either). I also noticed the unpleasant tone quality, but >to each his own. THEM'S FIGHTIN' WORDS, MISTER! Please be informed that the thereminette was capable of about 10 distinct voices and scores of effects (even more on later models). I thought the voice chosen was appropriate for the piece. A piece which , by the way, does NOT call for staccato. Interestingly, the selection that did have staccato as well as a trill didn't make it on the CD. >>I know this feeling. When sitting in the audience during a performance >>of Grainger's "Free Music" for four theremins, I noticed the look on the >>audience's faces. I kept thinking to myself, "We need to be playiing >>_melodic_ things, or these people will just think we are farting around >>regardless what kind of technical proficiency we possess". >Who is to blame? The composer who lacks the skill to exploit the >theremin's personality? The performer? The uneducated audience? The problem is that atonal music is almost always a bore. The same is true for microtonal music. The audience was guilty only of good taste. That is why Lydia Kavina's Swamp Music was such an unfortunate choice on the Moog demo tape. She could have hit dozens of "wrong" notes and we'd have been none the wiser. Long live equal temperament! >If you were to "correct" these certain "problems" with the theremin and >build an instrument, what would you have? The Thereminette. >Who would purchase it- the theremin crowd? I doubt. They were purchased by rock groups back when synthesizers were generally unaffordable. Theremin purists would certainly shun the instrument because you are allowed to brace your hand on it, thus ruining the visual effect of all that free arm waving. As a musical instrument, it is superior to the theremin. As a theatrical experience, it is inferior. >I think you may find a few theremin enthusiasts that would welcome such >an instrument, but at the same time, I think the majority would stick to >the "real" theremin because it is what it is. >People like a challenge. People like the theremin because (or in spite) >of what it is. These "problems" that you point out are what gives the >theremin its personality, and in many cases, is what draws the curious >to it. Yes, but is a musical instrument supposed to be about *music* or about overcoming unnecessary difficulty. And I reiterate that *much of the theremin's difficulty is totally unnecessary.* It is easy to improve upon, but those who make such improvements risk the disdain of players who enjoy the exclusivity that comes with playing the theremin. But that's not what music is supposed to be about! >As for tube theremins- you have never heard me try to win anyone over >to them. Heck, I own five theremins and all are transistor theremins! Just don't play them all at once! :-) OK, so you're not a tube-head. But Reid is, and he's enough to deal with. >:-) You did make some excellent points. Later, y'all! johnm From Planetgrog@aol.com Mon, 4 May 1998 16:14:48 EDT Date: Mon, 4 May 1998 16:14:48 EDT From: Planetgrog Planetgrog@aol.com Subject: The horror of polyphony Hey, John! I'm glad you wrote about the polyphonic theremin...that's not what I have in mind for polyphony though--I was thinking of my method, which is using the world famous whammy pedal. It plays the note you play plus the harmony (which you determine by what presets to toggle between-major or minor third is one setting as is 5th and 6th.) Instead of using your volume hand to play the harmony, your foot does. Say you play a C and you have the minor- major third setting on, your foot can either push the pedal down for an E or E flat. There are many other settings to use and if anything, it is really best for performing slide-guitar or pedal-steel like licks, but that's polyphony and a much easier way to do it--then when you really want a challenge, sing a third note to accompany the two you are playing while performing... From Planetgrog@aol.com Mon, 4 May 1998 16:44:17 EDT Date: Mon, 4 May 1998 16:44:17 EDT From: Planetgrog Planetgrog@aol.com Subject: Dave...I think my mind is going... In a message dated 5/4/98 7:56:25 PM, you wrote: <> The audience wasn't guilty of good taste---they're just used to hearing "sing back-able" melodies or music you don't have to think about but just enjoy. I do agree with you that the choice of music should've been something a little more-- you know what I mean... It's kind of a true thing that when someone plays a very atonal piece, other musicians tend to assume the performer is covering up mistakes. It helps if the performer plays something a little more grasp-able before doing the atonal stuff because only a minority of musicians of any instrument would choose to play "out". That's especially important if it's a demonstration of an instrument that someone is learning--as was the purpose of that video. But maybe they chose to go with it because they wanted something different from what Clara does since everyone buying a Big Briar theremin already gets a CD of Clara performing very melodic pieces. I respect them for doing that because at least we aren't just having one way of playing the theremin shoved down our throats!! Lydia's demonstration is actually encouraging people to do what they want with the theremin and be creative with how it's used musically. (Atonal doesn't necessarily mean non-musical) Enough of my rambling!! I'd love to hear your opinions on this matter!!! It's something my boyfriend and I have had a good discussion of. Pamelia From Planetgrog@aol.com Mon, 4 May 1998 16:45:20 EDT Date: Mon, 4 May 1998 16:45:20 EDT From: Planetgrog Planetgrog@aol.com Subject: Dave...I think my mind is going... In a message dated 5/4/98 7:56:25 PM, you wrote: <> Depending on what country you perform in!!! From sawman@cyberramp.net Mon, 04 May 1998 17:19:24 -0500 Date: Mon, 04 May 1998 17:19:24 -0500 From: Robert F sawman@cyberramp.net Subject: First electronic musical instrument Howdy: Several of us on our websites refer to the theremin as "the world's first electronic musical instrument", but everytime I read about things like Cahill's telharmonium, the choralcello, the singing arc, musical telegraph, it no longer seems like what I wrote and tell people about "the first" is actually correct. All of you historians and semanticists out there: What's the best way out of this dilemma? Should we reword this to make it "more true"? Robert F P.S.--to read about the above instruments here is a link http://www.china.co.uk/120_years/ From jasonba@microsoft.com Mon, 4 May 1998 15:23:59 -0700 Date: Mon, 4 May 1998 15:23:59 -0700 From: Jason Barile jasonba@microsoft.com Subject: First electronic musical instrument I've also seen it referred to as "one of the world's first..." or as "possibly the world's first successful musical instrument." Of the others, this is certainly the most widely-used electronic instrument today. -J -----Original Message----- From: Robert F [mailto:sawman@cyberramp.net] Sent: Monday, May 04, 1998 3:21 PM To: Multiple recipients of list Subject: First electronic musical instrument Howdy: Several of us on our websites refer to the theremin as "the world's first electronic musical instrument", but everytime I read about things like Cahill's telharmonium, the choralcello, the singing arc, musical telegraph, it no longer seems like what I wrote and tell people about "the first" is actually correct. All of you historians and semanticists out there: What's the best way out of this dilemma? Should we reword this to make it "more true"? Robert F P.S.--to read about the above instruments here is a link http://www.china.co.uk/120_years/ From rmast@tezcat.com Mon, 4 May 1998 21:13:46 -0500 Date: Mon, 4 May 1998 21:13:46 -0500 From: Russell Mast rmast@tezcat.com Subject: Trilling and Thrilling. Oh, yes, the radio broadcast from Ohio. Actually, I'll be doing that again on this tour, though I'll mostly be doing spoken-word stuff and might not bring the theremin into the studio. Anyway, one other trilling trick that definitely bears mentioning is touching another human while they're playing. You can even set up chains of people and hear minor differences fairly far away. You can hold a wire in one hand while holding a (relatively) steady note, and have someone at a distance tap the other end of the wire to form a trill. It's all got something to do with increasing your "ground potential" according to someone who knows more about electronics than I do. (I always think of that like ground glass or ground beef.) This probably isn't going to be an essentail part of the sound of anyone's new compositions, but it's great fun for demonstrations (especially those one-on-one "would you like to see my etchings, er, I mean theremin?" types of demos). It's also neat if you like a little visual showmanship in your stage appearances. I like Clara. I like microtones, too. And vacuum tubes. I'd rather concentrate on making music I like rather than worry about what other people's opinion of the instrument is. Which is not to say it's not a valid concern, just one that sometimes seems to take on more importance than it should. Has anyone heard anything about the Asheville Workshop? I skimmed the last few issues and if anyone posted anything, I must have been skimming too fast. Also, I'm right-handed, and a viola player. The right-handed set-up of the theremin seems perfectly natural to me. Maybe that's a comment on my viola abilities. My mom writes backwards. I only think backwards. -Russell Mast From John_Mitchell@ascend.com Mon, 4 May 1998 19:52:53 -0700 Date: Mon, 4 May 1998 19:52:53 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Who's on First? Robert F. wrote: >Several of us on our websites refer to the theremin as "the world's first >electronic musical instrument", but everytime I read about things like >Cahill's telharmonium, the choralcello, the singing arc, musical telegraph, >it no longer seems like what I wrote and tell people about "the first" is >actually correct. All of you historians and semanticists out there: What's >the best way out of this dilemma? Should we reword this to make it "more >true"? Ah, but Sawman, you are still correct! The singing arc, telharmonium, etc. were *electrical* instruments. Theremin's use of tubes makes his instrument the first *electronic* instrument. johnm From John_Mitchell@ascend.com Mon, 4 May 1998 19:58:21 -0700 Date: Mon, 4 May 1998 19:58:21 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Don't even go there, girl! Pamelia wrote: >Lydia's demonstration is actually encouraging people to do what they want with the >theremin and be creative with how it's used musically. (Atonal doesn't >necessarily mean non-musical) >Enough of my rambling!! I'd love to hear your opinions on this matter!!! It's >something my boyfriend and I have had a good discussion of. Now, do you REALLY want to get me started on this subject? DO YOU? You have no idea what an "earful" is until you get me going on the atonal debate. There are levnetters here who certainly remember my abstract art tirade, so I won't even go there. Nice try, though. ;-) johnm From rewelch@earthlink.net Mon, 4 May 1998 23:39:38 -0400 Date: Mon, 4 May 1998 23:39:38 -0400 From: Reid Welch rewelch@earthlink.net Subject: Gift Tapes going out.... Clara Rockmore Gift Tapes are going out today to the following people: AG, AH, BS, DB. If anyone else wants a copy -just ask. The Clara Rockmore Gift Tape is an audio cassette containing my July 1997 interview with Clara Rockmore. Included is a sound sample of Clara's unique theremin. The flip side of the cassette presents "lost" theremin accompaniment music originally intended for Clara's practice use. The Gift Tape is mailed free of charge throughout the world. No donations, please. It is a humble home-made recording, but it is Clara Rockmore's personal gift to you and her last public statement. To receive a Gift Tape, Email me your postal mailing address with the subject header: GIFT TAPE. thanks, Reid From sawman@cyberramp.net Mon, 04 May 1998 23:09:50 -0500 Date: Mon, 04 May 1998 23:09:50 -0500 From: Robert F sawman@cyberramp.net Subject: Who's on First? (Was Re: First Electronic...) At 11:05 PM 5/4/98 -0400, JohnM wrote: > >Ah, but Sawman, you are still correct! The singing arc, telharmonium, etc. > >were *electrical* instruments. Theremin's use of tubes makes his > >instrument the first *electronic* instrument. > > > But the historic descriptions of the above describe them as "electronic" instruments. So maybe they are the ones that are technically incorrect and should be using the term "electrical" instead of "electronic" on their webpage. However, "electronic" in my mind, doesn't equate with "uses tubes." Then none of today's solidstate instruments would be "electronic" unless you extend the term to include transistors and semiconductors. But then doesn't "electrical" also involve flowing electrons? Robert F From Planetgrog@aol.com Tue, 5 May 1998 00:58:33 EDT Date: Tue, 5 May 1998 00:58:33 EDT From: Planetgrog Planetgrog@aol.com Subject: Trilling and Thrilling. Hi, Russel! I love viola!! I played it for a while in school--used to hear all those viola jokes. Thanks for writing in!! Pamelia From Planetgrog@aol.com Tue, 5 May 1998 01:00:39 EDT Date: Tue, 5 May 1998 01:00:39 EDT From: Planetgrog Planetgrog@aol.com Subject: Don't even go there, girl! In a message dated 5/5/98 3:31:56 AM, you wrote: <> John, that's what I was hoping for!!!!!!!!!!!! (I myself, am not a big fan of atonal music but some of it, sometimes I appreciate...) From rewelch@earthlink.net Tue, 5 May 1998 01:49:24 -0400 Date: Tue, 5 May 1998 01:49:24 -0400 From: Reid Welch rewelch@earthlink.net Subject: Who's on First? (Was Re: First Electronic...) > >At 11:05 PM 5/4/98 -0400, JohnM wrote: >> > >>Ah, but Sawman, you are still correct! The singing arc, >telharmonium, etc. >> >>were *electrical* instruments. Theremin's use of tubes makes his >> >>instrument the first *electronic* instrument. >> >> >> And Sawman related: >But the historic descriptions of the above describe them as "electronic" >instruments. So maybe they are the ones that are technically >incorrect and >should be using the term "electrical" instead of "electronic" on their >webpage. However, "electronic" in my mind, doesn't equate with "uses >tubes." Then none of today's solidstate instruments would be >"electronic" >unless you extend the term to include transistors and >semiconductors. But >then doesn't "electrical" also involve flowing electrons? > Gee, I'm having a bad day. I side with John's point. Popular usage of "electronic" and "electrical" is hardly misleading. A telharmonium and a theremin are both electric in the controlled-flow-of-electrons sense, as also are the waffle iron and pacemaker. Just my guess, but the word "electronic" was probably coined with the advent of electronic tubes. A new term was needed to describe the novel control, or detection, of electrical currents by means of inertialess electric "valves" instead of the mechanical switches, iron filings or chemical reaction of the prior art. Transistors and tubes are equally "electronic" valves. And John was correct: the telharmonium and theremin are quite different in their operation because the former is mechanical-electrical and the latter is electronic-electrical. Hmmmm..... I wonder if someone could recreate the old telharmonium sound (AC alternators playing an anvil chorus) with transistors? But since the world's only telharmonium is long gone I guess it's moot. Reid From sawman@cyberramp.net Tue, 05 May 1998 02:10:56 -0500 Date: Tue, 05 May 1998 02:10:56 -0500 From: Robert F sawman@cyberramp.net Subject: Who's on First? (Was Re: First Electronic...) At 01:57 AM 5/5/98 -0400, Reid W wrote: > >Transistors and tubes are equally "electronic" valves. And John was >correct: the telharmonium and theremin are quite different in their >operation because the former is mechanical-electrical and the latter is >electronic-electrical. > So were the telharmonium, singing arc, and musical telegraph the first electrical musical instruments or the first electric musical instruments? Robert F From vermeere@nlceicl1.serigate.philips.com Tue, 5 May 1998 09:36:32 +0200 Date: Tue, 5 May 1998 09:36:32 +0200 From: vermeere@nlceicl1.serigate.philips.com vermeere@nlceicl1.serigate.philips.com Subject: be careful with VERY low frequency sound (if it's "loud") Subject: Re: be careful with VERY low frequency sound (if it's "loud") Gary wrote: >... but there is a real hazard with very low frequency >at a high sound pressure level. A few decades ago, there was some >experimentation with such infrasonic (7 Hz) sound generators for >battlefield use. If I recall it right, 7 and 11 Hz are about the resonance frequencies of brains and bowels (or vice versa). Could imagine we have to have permits for low-freq theremins some day. And then there's of course Prof. Zonnebloem (of Kuifje/TinTin fame) his soundgenerator to destroy the cities of the enemy, but I thought this was an ultrasonic device. And luckily only in a comic from Europe (I have no idea if TinTin / Kuifje is known in the US btw). I promise my next posting will make more sense. Peter From pluto@4link.net Tue, 05 May 1998 00:59:21 -0700 Date: Tue, 05 May 1998 00:59:21 -0700 From: Ross Marshall pluto@4link.net Subject: Dave...I think my mind is going... DAve said; When sitting in the audience during a performance of Grainger's "Free Music" for four theremins, I noticed the look on the audience's faces. I kept thinking to myself, "We need to be playiing _melodic_ things, or these people will just think we are farting around regardless what kind of technical proficiency we possess". RSM: Dave you're right. Who is to blame? The composer who lacks the skill to exploit the theremin's personality? The performer? The uneducated audience? RSM: The Performer, as well as the Composer; most of the cases will shew us it's the performer, sense any good composer 'familier' with the theremin can write it. I favor the view that it's the performer. If we don't do as you mention, it will just stay a circus attraction. As I was at the CIA Club in Burbank. So in regard to the above comments from Theremin himself, I feel Mrs. Rockmore did little to promote the theremin how Prof. Theremin first envisioned it. RSM: Dave, remember, Clara I don't believe had the same knowledge of tubes and wires, as Leon did. They simply saw two different ways. I don't think for one minute Clara and Leon's relationship ever left out the aspects of the unknown 'side' of Clara and that of Leon. Clara, I say, helped to promote the theremin in a "straight and narrow" way, in a sense, myoptically. Her theremin was all she had. She knew of no other; only concepts. To Leon, the theremin presented more than concepts. With his electronics knowledge, he could bath in a sea of visions percept-wise. He perceived what Clara could only 'conceive'. It was Leon who could hear these things in his head. Clara I believe, kept her mind clear of these things to develop what she did. Again, I'm not saying that is bad. It was just her approach. Her approach can easily be added to, once mastered. There are more muscles on the hand and arm and even the shoulders, that we've never touched on. Clara used the ones she knew best, to perfection. We each can too, but in different ways. Yet we accept her approach as gospel. Her approach is like a Christmas Tree. You can decorate it with as many slight stylistics as there are muscles in the arms and hands. Just because Clara chose certain works does not dictate what others should play. She picked the hardest ones! She gave us the only proven theremin playing technique. That is what we need to study. RSM: Yes, and once the basics and many advancements have been acquired, you then break away a bit and add your own personally developed stylistics. You'll find the theremin to be a fantastic musical instrument. Without Clara's system, and some of your own devices, you cannot begin. Check out the muscles beyond the two wrists all the way up the arm. Not to mention all the way to the feet. Clara has lead me to some startling findings. Clara , using her pitch hand, seems to 'pinch' the air with her finger and thumb as if to be grasping a string? Her middle fingers and little finger managing the notes. But I find in some instances, the pitch hand 'wrist' can be twisted a slight bit upwards allowing the thumb and first finger to be tilted out away from the antenna. This allows the usage of such fingers as the middle finger. Here you can now picture a piano hammer. The point of the middle finger can now be retracted back into the hand and quickly extended out. Wiggle it fast and you have a great device for running up the scales. Muddled at first, yes. With practice; each note cleans up to purity. The middle finger can be 'tuned' to the other 'volume' hand's finger(s). Now, this is a fantastic find. Don't get me wrong. In some cases too minute to show, I believe Clara does this so slightly, but she is more 'direct' into the antenna. She is not as to the "right" of the antenna as I am. A good combination of both is a favorable thing for me to develop. Be able to do both approaches, then combine the two. Here, other wee things Clara knew nothing about, come surfacing. The theremin is not so much a musical instrument that has not been developed. The theremin is 'always developing; always in a developing stage. This is the theremin's 'nature'. I shall stay behind though, with it as it is, as close to Clara's as it can be, but with some flexability. I shall take one of the wheel's spokes and strengthen it. As I hope others will take their spoke and do the same. No one will ever play like Clara, because we do not have her arms and hands, not to mention her brain. ROSS From dball@esper.com Tue, 5 May 1998 06:49:48 -0400 Date: Tue, 5 May 1998 06:49:48 -0400 From: David Ball dball@esper.com Subject: Forwarded Message: Re Gift Tape Reid wrote (but it bounced): >Clara Rockmore Gift Tapes are going out today to the following people: >AG, AH, BS, DB. > >If anyone else wants a copy -just ask. > >The Clara Rockmore Gift Tape is an audio cassette containing my July 1997 >interview with Clara Rockmore. Included is a sound sample of Clara's unique >theremin. The flip side of the cassette presents "lost" theremin >accompaniment music originally intended for Clara's practice use. > >The Gift Tape is mailed free of charge throughout the world. >No donations, please. > >It is a humble home-made recording, but it is Clara Rockmore's personal gift >to you and her last public statement. > >To receive a Gift Tape, Email me your postal mailing address with the >subject header: GIFT TAPE. > >thanks, > >Reid > From dball@esper.com Tue, 5 May 1998 06:51:36 -0400 Date: Tue, 5 May 1998 06:51:36 -0400 From: David Ball dball@esper.com Subject: Humor: Re: Trilling and Thrilling. Pamelia wrote: >Hi, Russel! I love viola!! I played it for a while in school--used to hear >all those viola jokes. Thanks for writing in!! I happened to get in this morning's email the following oldies but goodies. I guess one could change "viola" to "theremin" without much trouble: Dave Ball Q: What is the definition of a Soviet String Quartet? A: A Soviet Symphony Orchestra after a tour of the USA. Q: How do you get 11 violinists to play in tune? A: Shoot ten of them. Q: What is the similarity between lightning and a violist's fingers? A: They both never strike the same place twice. Q: What is the difference between a violist and a terrorist? A: Terrorists have sympathisers. Q: What's the difference between a violist and a dressmaker? A: A dressmaker tucks up frills. Q: What's the difference between a viola and a trampoline? A: You take off your shoes to jump on a trampoline. Q: What are burning oboes used for? A: To set bassoons on fire. Q: What's the difference between an alto trombone and a chainsaw? A: You can tune the chain saw. Q: What's the difference between a violist and a shaggy dog? A: A shaggy dog knows when to stop scratching. Q: How can you tell when the stage is level? A: The violists drool from both sides of their mouths. Q: What do you call a violist with half a brain? A: Gifted. Q: What is the definition of perfect pitch? A: When you get the viola into the toilet without hitting the sides. Q: How is playing viola like peeing in a dark suit? A: It gives you a warm feeling, but no one notices, and no one really cares. Q: If, when driving a car you see a violist and a conductor walking along the side of the road, which one do you run down first? A: The conductor. First things first; fun can wait. Q: What is the range of a viola? A: Thirty feet if you kick it hard enough. Q: What's the difference between a viola and an onion? A: Nobody cries when you cut a viola in half. Q: Why are orchestra intermissions only twenty minutes long? A: So the violists don't need to be retrained. Q: When a 16-inch viola and a 17-inch viola are dropped simultaneously from a 30-story building, which one hits the pavement first? A: It doesn't matter. Q: How many bass players does it take to change a light bulb? A: None. The piano player can do that with his left hand. Q: How many sopranos does it take to screw in a lightbulb? A: 1,001. The first to hold the lightbulb in the socket, stand still and let the world revolve around her, the next 999 to say:"I could have done it better", and the last to push the ladder out from under the first. Q: How can you tell when a tenor is really stupid? A: When other tenors notice. Q: How many conductors does it take to change a lightbulb? A: Seven. (Indignant nose upturning) Of course, I wouldn't expect you to understand... Q: How many bass players does it take to change a light bulb? A: Only one, but the guitarist has to show him how first. Q: What do lead trumpet players use for birth control? A: Their personality. Q: How do you make a guitarist play quieter? A: Put a sheet of music in front of him. Q: How do you make him stop? A: Put notes on it. Q: How many jazz purists does it take to change a lightbulb? A: Ten. One to change the bulb and nine to complain that it's electric. Q: What happens if you play country music backwards? A: You sober up, get a job, and your wife comes back. Q: Why does everyone hate a banjo the first time they hear it? A: Saves time. Q: How many folk musicians does it take to change a light bulb? A: Seven. One to change and the other six to sing about how good the old one was. Q: What do you do with an accordian player up to the neck in sand? A: Find more sand. Q: What do you say to the accordion player in a three piece suit? A: Will the defendant please rise? Q: What do you get when you cross a mafia lieutenant and a performance artist? A: Someone who makes you an offer you can't understand. From rewelch@earthlink.net Tue, 5 May 1998 10:07:39 -0400 Date: Tue, 5 May 1998 10:07:39 -0400 From: Reid Welch rewelch@earthlink.net Subject: Who's on First? (Was Re: First Electronic...) >At 01:57 AM 5/5/98 -0400, Reid W wrote: >> >>Transistors and tubes are equally "electronic" valves. And John was >>correct: the telharmonium and theremin are quite different in their >>operation because the former is mechanical-electrical and the latter is >>electronic-electrical. >> Sawman responded: >So were the telharmonium, singing arc, and musical telegraph the first >electrical musical instruments or the first electric musical instruments? > >Robert F > I don't see the distinction between "electric" and "electrical" above. Both seem to mean the very same thing. Reid From dball@esper.com Tue, 5 May 1998 10:30:15 -0500 Date: Tue, 5 May 1998 10:30:15 -0500 From: David Ball dball@esper.com Subject: Who's on First? (Was Re: First Electronic...) OK, gang, here's an electronic "instrument" that hasn't been mentioned--no claims that it was first, just an interesting observation. I guess it's also an observation that will show my age... Back when I first started working with mainframe computers for a living, the memory in these computers were either "core" or "short rod" memory. Each of these technologies are based on magnetizing a ferrous object (a "donut" on core and a "whisker" on short rod) with polarity that indicates "one" or "zero." The process of magnetizing and reading the magnetic field of the entire array (the memory arrays were very impressive--in later years it was possible to store as much as 4 k bits in a box the size of a large desk) created one heck of an electromagnetic radio frequency field in the computer rooms. We had decks of punch cards that contained machine code to perform reads and writes of the magnetic memory in certain cycles such that if one were to play an AM radio in the computer room, the "Stars and Stripes Forvever" and a couple of other tunes would play--the product of the magnetic field generated by the memory array! Pretty slick, I thought. Of course, we also had decks of punch cards that would produce pictures of Mr. Spock on an old drum printer (text only--picture would be made by overstriking typewriter style type in certain patterns. Kind of big text pixels). Who'd have ever thunk back then that today we'd have soundcards... Dave Ball From AKarlok@aol.com Tue, 5 May 1998 14:34:44 EDT Date: Tue, 5 May 1998 14:34:44 EDT From: AKarlok AKarlok@aol.com Subject: A technicle question As I said in the past, I'm pretty much a technicle idiot, so this question is proply a dumb one. I'm thinking of covering my etherwave with a plastic casing, simular to whats on drums, actually, it's the same covering. My question to you out there who know all about the technicle stuff is, will this affect the frequencies of my theremin? I know when I was attempting to build my etherwave, the mannuel said not to use certain black paints, because they had a carbon base, but what about plastic? thanks Andy From dball@esper.com Tue, 5 May 1998 17:22:38 -0400 Date: Tue, 5 May 1998 17:22:38 -0400 From: David Ball dball@esper.com Subject: A technicle question Andy wrote: > As I said in the past, I'm pretty much a technicle idiot, so this >question is proply a dumb one. > I'm thinking of covering my etherwave with a plastic casing, simular to >whats on drums, actually, it's the same covering. My question to you out there >who know all about the technicle stuff is, will this affect the frequencies of >my theremin? > I know when I was attempting to build my etherwave, the mannuel said not >to use certain black paints, because they had a carbon base, but what about >plastic? I covered my Etherwave in black Tolex, like on a guitar amp. This worked fine. As long as the drum material isn't conductive, you shouldn't have a problem. You might have to do a slight readjustment, since everything including finish has some impact on the oscillators' frequencies. I'd go for it and see what happens. Dave Ball From clester@137.com Tue, 05 May 1998 17:27:17 -0700 Date: Tue, 05 May 1998 17:27:17 -0700 From: Charlie Lester clester@137.com Subject: Theremin on the Discovery Channel Well, I just had a meeting here at my house with a guy who's scoring a Discovery Channel show called "Animalicious." So, he's hired me to do a couple of theremin "riffs" for that show. I go to the studio Thursday morning for the recording session. The composer's a really nice guy, named Mick Muhlfriedel. He was really intrigued by the theremin (had not yet had a close encounter with one but has seen the documentary and said he's a friend of Steven M. Martin's). ~ ~~~ ~~~~~~~ Charlie Lester From theremin1@worldnet.att.net Tue, 5 May 1998 20:37:26 -0700 Date: Tue, 5 May 1998 20:37:26 -0700 From: Arthur Harrison theremin1@worldnet.att.net Subject: LEVNET digest 300 Peter, on the subject of ICs, said: >But: about a year ago, I read about work on the integrating of tubes (sure, >no typos in the previous line: integrated tubes. As it seems, it can be done ! >It's still experimental and a bit unpractical but someone at a technical >university in the Netherlands has succeeded in integrating some. Because >of the still low current densities, they put lots of them in parallel. Art responds: To my knowledge, the concept of very complex tubes was about to evolve "big time" 'till those darn transistors came along and ruined everything! >re: bass sounds >>>Theremin (Longwave) that's under construction now can make it to 40 Hz. >>>This low will be enough for now for me, but I could imagine that several >>>Theremins can go lower than this. >>Art: >>How 'bout 13.75 hertz of pure synthesized sine wave? (from my own units) >>Now, you can really FEEL that! Peter: >Whoa, that's some ! From a VCO (hmm :-) or 'heterodyned' ? (whoa again) >And no problem here with this kind of bragging - at least for me it's informative - >... & fustrating :-) I thought to have something nice: 40 Hz is below the E-string >of my bass when not detuned (that's 41.2 Hz then - I'm not into five-string basses) >and then there's someone else his theremin capable of 13.75 !! Are these frequencies >allowed by law ? Art: One of the big advantages of a VCO-voiced Theremin is the ability to go way low in pitch, and maintain the desired waveform. On most heterodyne instruments, low frequencies are also possible, but certain factors begin to dominate the waveshape, causing sounds like "motorboating." (As far as I know, bass Theremins are legal, as long as no windows are broken!) From tpolk@prismnet.com Tue, 05 May 1998 23:14:38 -0500 Date: Tue, 05 May 1998 23:14:38 -0500 From: Tom Polk tpolk@prismnet.com Subject: Who's on First? (Was Re: First Electronic...) Reid Welch wrote: > I don't see the distinction between "electric" and "electrical" above. Both > seem to mean the very same thing. Does that apply to "electrical banana?" You know that's bound to be the very next phase. From dstork@ibm.net Wed, 06 May 1998 01:11:50 -0700 Date: Wed, 06 May 1998 01:11:50 -0700 From: Dave Stork dstork@ibm.net Subject: Electrical or Electronic? Oy vey... this is already spinning off into one of those interminable semantics debates so often seen on this list. Here's the definition of "Electronic" from _Modern Dictionary of Electronics_ by Rudolf F. Graf: "1: Pertaining to that branch of science which deals with the motion, emission, and behavior of currents of free electrons, especially in vacuum, gas or phototubes and special conductors or semiconductors. This is contrasted with ELECTRIC, which pertains to the flow of large currents in metal conductors." (By the way, this dictionary contains an entry for "theremin" and an accurate description thereof, so you know it's a good dictionary :-) ). I might add that in common usage, ELECTRICAL can refer to any circuit operating on electromotive force, whereas ELECTRONIC typically implies the presence of active devices (amplifiers). -- Dave Stork Stork Audio dstork@ibm.net http://members.aol.com/StorkAudio From dstork@ibm.net Wed, 06 May 1998 01:21:42 -0700 Date: Wed, 06 May 1998 01:21:42 -0700 From: Dave Stork dstork@ibm.net Subject: Who's on First? (Was Re: First Electronic...) Dave ball wrote: > > Of course, we also had decks of punch cards that would produce pictures of > Mr. Spock on an old drum printer (text only--picture would be made by > overstriking typewriter style type in certain patterns. Kind of big text > pixels). > When I was a little kid, I went to visit my dad at his job at IBM's headquarters in Armonk. He took me into the computer room. The room was full of large printers, card punchers, card readers, and big open-reel tape storage devices. Maybe my memory is playing tricks on me, but I think the technicians were wearing lab coats! Anyway, one of the techs entered a long string of keystrokes, a large printer clattered away, someone tore the paper off the printer, and I was handed a big picture of Snoopy, rendered typewriter-style in 1s and 0s... or was it Xs? I don't remember. Anyway, it was quite a thrill for a five year-old kid; it all seemed so... futuristic! Years later, possibly as karmic punishment for teenage misdeeds, I found myself working in data processing in IBM. They were still using punch-cards and open-reel tape to an extent... as recently as the late '80s, anyway. -- Dave Stork Stork Audio dstork@ibm.net http://members.aol.com/StorkAudio From dball@esper.com Wed, 6 May 1998 06:24:52 -0400 Date: Wed, 6 May 1998 06:24:52 -0400 From: David Ball dball@esper.com Subject: Who's on First? (Was Re: First Electronic...) Dave Stork wrote: >When I was a little kid, I went to visit my dad at his job at IBM's >headquarters in Armonk. He took me into the computer room. The room was >full of large printers, card punchers, card readers, and big open-reel >tape storage devices. Maybe my memory is playing tricks on me, but I >think the technicians were wearing lab coats Yep, we wore lab coats. Wasn't that long ago, either... Dave Ball From royber@total.net Wed, 6 May 1998 07:25:37 -0500 Date: Wed, 6 May 1998 07:25:37 -0500 From: Bernard Roy royber@total.net Subject: pitch (questionably humorous) John Giunta wrote, re: bituminous pitch >With the complaints about difficulty with pitch, why not employ the >long-forgotten subsance used by the ancient Egyptian thereminists, the >real thing--bituminous pitch !! > >Simply take a cupful of the gooiest pitch you can find and slowly mix in >some terpentine to adjust the consistency. Experiment with the mixture >to get perfect pitch. Apply it evenly over both bare arms. Use a putty >knife to avoid finger tracks, if necessary. The resulting added mass to >the arms will make it easier for both arms to be in the right place at >the right time, will make glissandi smoother and add "authority" to the >music. > I had a replica of a large Sumerian harp made several years ago. The original ones (in the British Museum, the Baghdad Museum and also in Philadelphia) were excavated by Prof. Woolley in the course of his work in the City of Ur of the Chaldees, and were elaborately inlaid with semi-precious stones and shell. Yes, the wonderful bits of ornamentation were stuck into - you got it - good old bitumen pitch. There was plenty of it bubbling up from the depths of the Tigris/Euphrates river valley, and it made a very good sort of gluey cement. I had to use this pitch for the reproduction harp, because the sound of the instrument is changed by its presence. Clara Rockmore may be the reincarnation of the great Sumerian Queen Shubad of the Perfect Pitch. From royber@total.net Wed, 6 May 1998 07:25:43 -0500 Date: Wed, 6 May 1998 07:25:43 -0500 From: Bernard Roy royber@total.net Subject: Olivia Termena Lev Sergeievitch to Olivia Mattis re: the whereabouts of the polyphonic theremin: >Theremin: I had the instrument in the university in a special place where >I demonstrated it for my lectures. But the university was reorganized and >rooms reassigned. The instrument was left in a room for four years, >where people could come and gradually dismantle it. So now it is in a >completely dismantled and ruined condition at the university somewhere. Oh Olivia! You silly, stupid, girl! You should have married Prof. Theremin years ago when he asked you, and none of this would have happened. What on EARTH were you thinking of when you politely declined? You would now be Olivia Termena, and we'd have the polyphonic theremin, the terpsitone, the whole kit & kaboodle! You could have been a sort of latter-day Alma Mahler (she had the dubious distinction of having married not ONE, but THREE celebrated musicians of her time). As for polyphony, diatonic and chromatic scales on the theremin, the MIDI Ethervox does all that. I always said that if Professor Theremin had been allowed to continue his research unhindered by politics and petty intrigue, he would long ago have come up with the MIDI concept and have implemented it in his electronic gesturally controlled instruments. From royber@total.net Wed, 6 May 1998 07:25:48 -0500 Date: Wed, 6 May 1998 07:25:48 -0500 From: Bernard Roy royber@total.net Subject: french band Air use a theremin Neil wrote: >Hi all, > >This evening I saw a UK music TV show which featured a French band >called 'Air'. They used a Theremin, although I couldn't tell which >make. > >It was approx. 8cm x 30some cm (well, that's based on how it looked on >my TV!) with standard antennae. It was mounted on a mic stand. > >They didn't really use it for anything more than simple >'wooooeeeeeoooooooo' type noises. > >The band come from Versailles near Paris, so maybe someone over there >may know more? > I have a really good friend who lives in Versailles and who is a thereminist. I'll ask her about the band AIR and post whatever she finds out about them. From royber@total.net Wed, 6 May 1998 07:25:53 -0500 Date: Wed, 6 May 1998 07:25:53 -0500 From: Bernard Roy royber@total.net Subject: The Plasma Ball Dylan D. Wagner wrote: > Oh the very best and most spectacularly theatrical fx bizzarity > I've come across is using a plasma ball to distort the theremin. I would > hold it in my pitch hand while I played and it would do some really > interesting distortion on the sound, furthermore if I touched the globe > (discharging the electrode I guess) this would further heighten the > intensity of the distortion. Also interesting was that the plasma ball was > distorting my amp and fx rack! Just the plasma ball alone was doing > intersting synth-like sounds. Unfortunatly I've yet been able to re-creat > this last bit... > This is very cool! Tell us MORE. From cx955@freenet.carleton.ca Wed, 6 May 1998 14:54:19 -0400 (EDT) Date: Wed, 6 May 1998 14:54:19 -0400 (EDT) From: Dylan David Wagner cx955@freenet.carleton.ca Subject: The Plasma Ball > >Dylan D. Wagner wrote: > >> Oh the very best and most spectacularly theatrical fx bizzarity >> I've come across is using a plasma ball to distort the theremin. I would >> hold it in my pitch hand while I played and it would do some really >> interesting distortion on the sound, furthermore if I touched the globe >> (discharging the electrode I guess) this would further heighten the >> intensity of the distortion. Also interesting was that the plasma ball was >> distorting my amp and fx rack! Just the plasma ball alone was doing >> intersting synth-like sounds. Unfortunatly I've yet been able to re-creat >> this last bit... >> > >This is very cool! Tell us MORE. > Hmm, well I'll do my best: The plasma ball was the standard Realistic model from Radioshack. The show was a performance art thing at a local arts court; the music was provided by myself and a violinist (albeit that didn't work out too great since a good friend of mine didn't know the violinist was plugged into a certain amp (which was then mic-ed) so during the show he descided to overload the amp and generate lotsa feedback, so no one heard the violinist, just this wall of noise). Anyhow I was hooked up to a single power bar with my theremin, my midiverb 4 and my amp and the plasma ball. I found that even with the theremin off, the plasma ball was causing some sort of distortion over the fxrack. Maybe affecting the patch cords, I'm not sure, but it sounded nice and synthlike (crusty, but nice) and it was triggered by actually touching the glass surface of the ball. Later on I tried this again, but with this fun setup: I had one guy holding the plasma ball, another person was touching his arm, follow by about 4 people each holding hands; at the oppsite end I was holding the end of a patch cord. I would then touch the person next to me (about 5 people away from the plasma ball) and get that same synth sound. I could ruffle their hair, touch their face, fondle their derrier and the sound would still happen. I could go to the beginning of the chain to the guy with the plasma ball itself and get the same sound but louder... Very strange! Seems like the basis for another type of theremin if someone could figure out what the smeg is going on! Anyhow back to the show. So the ball was already producing some noise, then I turned on my etherwave and played it normally, to no suprising effect. Then I held the plasma ball in my pitch hand and got this fuzzy distortion over the theremin (the sound was also whirlier). If I touched the plasma ball's glass surface (my pitch hand is holding it by the base, not the actual ball itself) with my volume hand it would discharge the elctrode (producing the sparky thing) and the theremin would go louder and with a much higher screeching pitch. I could also affect by the proximity of my discharging hand to the actual pitch antennae. It was also interesting to tap it quickly to get a series of high pitched squeels... But alas this was in winter, and I had left my window open to get some cold air in my hot room. The cold air seemed to come direct from the window and onto a certain spot on my bed. The same spot I had put some of my equipment as I was getting ready to go to another show. I picked up the plasma ball to put it away, and BOOM! the glass shatterd. I'm assuming the cold air compressed the gas inside or something, but the thing just burst on the slightest of contat. Needless to say my plasma ball theremining is no more. Albeit I'm thinking of replacing the bulb, since it was such a funky theatrical thing to have for live performances... -- Urg Burglle Splatch? Just another solution to ALL of life's problems from Dylan David Wagner at: cx955@Freenet.Carleton.CA From John_Mitchell@ascend.com Wed, 6 May 1998 12:53:27 -0700 Date: Wed, 6 May 1998 12:53:27 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: LEVNET digest 301 Robert F. wrote: >But the historic descriptions of the above describe them as "electronic" >instruments. So maybe they are the ones that are technically incorrect and >should be using the term "electrical" instead of "electronic" on their >webpage. However, "electronic" in my mind, doesn't equate with "uses >tubes." Then none of today's solidstate instruments would be "electronic" >unless you extend the term to include transistors and semiconductors. But >then doesn't "electrical" also involve flowing electrons? The descriptions you cite are indeed incorrect. The term "electronic" only applies only to devices that use semiconductors and/or tubes. An instrument like the dynamophone is electric or electrical because no semiconductors are used. Alas, some authors are not aware of the distinction. johnm From Planetgrog@aol.com Wed, 6 May 1998 17:22:26 EDT Date: Wed, 6 May 1998 17:22:26 EDT From: Planetgrog Planetgrog@aol.com Subject: Portishead Any Portishead fans out there? I read that there's a theremin on the new album so I bought it to listen for the theremin track(s) but couldn't find it or didn't notice it in there... Anybody know what song it's on and what it's doing? From cx955@freenet.carleton.ca Wed, 6 May 1998 17:56:42 -0400 (EDT) Date: Wed, 6 May 1998 17:56:42 -0400 (EDT) From: Dylan David Wagner cx955@freenet.carleton.ca Subject: Portishead > >Any Portishead fans out there? I read that there's a theremin on the new >album so I bought it to listen for the theremin track(s) but couldn't find it >or didn't notice it in there... Anybody know what song it's on and what it's >doing? Quite taken by Portishead at times, but alas there's no theremin in any of their recordings. Their first album "Dummy" credits a theremin on the first track, but from what I hear that's complete BS and all "thereminesque" sounds are done on a synth. This was further driven in when I went to see them live (back when I thought they used a theremin) and looked and looked and looked, but no theremin. I did notice some guy seemingly slidding a pitch wheel or a ribbon controller along with hitting keys on a synth which seemed to correspond to the theremin... -- Urg Burglle Splatch? Just another solution to ALL of life's problems from Dylan David Wagner at: cx955@Freenet.Carleton.CA From AKarlok@aol.com Wed, 6 May 1998 19:35:55 EDT Date: Wed, 6 May 1998 19:35:55 EDT From: AKarlok AKarlok@aol.com Subject: Portishead I think that they only had theremin on the first album,at least that's what I remember hearing Andy From flook@globalnet.co.uk Wed, 06 May 1998 23:39:22 GMT Date: Wed, 06 May 1998 23:39:22 GMT From: flook flook@globalnet.co.uk Subject: Portishead On Wed, 6 May 1998 17:56:54 -0400 (EDT), you wrote: > Quite taken by Portishead at times, but alas there's no theremin >in any of their recordings. Their first album "Dummy" credits a theremin >on the first track, but from what I hear that's complete BS and all >"thereminesque" sounds are done on a synth. This was further driven in AFAIK they used a Roland SH101 olde worlde analogue synthesiser. Which impressed me. Neil. ---------------------Neil Amison--------------------- sound engineer, gruftie, part time celt, theremaniac http://www.users.globalnet.co.uk/~flook http://members.tripod.com/~flook/nexus.htm From jasonba@microsoft.com Wed, 6 May 1998 16:46:35 -0700 Date: Wed, 6 May 1998 16:46:35 -0700 From: Jason Barile jasonba@microsoft.com Subject: Portishead Adrian Utley told me they use a Minimoog these days. You can download an image of their "theramin" patch for it from their website. They also have a Longwave Instruments theremin but don't use it often. -Jason -----Original Message----- From: flook@globalnet.co.uk [mailto:flook@globalnet.co.uk] Sent: Wednesday, May 06, 1998 4:41 PM To: Multiple recipients of list Subject: Re: Portishead On Wed, 6 May 1998 17:56:54 -0400 (EDT), you wrote: > Quite taken by Portishead at times, but alas there's no theremin >in any of their recordings. Their first album "Dummy" credits a theremin >on the first track, but from what I hear that's complete BS and all >"thereminesque" sounds are done on a synth. This was further driven in AFAIK they used a Roland SH101 olde worlde analogue synthesiser. Which impressed me. Neil. ---------------------Neil Amison--------------------- sound engineer, gruftie, part time celt, theremaniac http://www.users.globalnet.co.uk/~flook http://members.tripod.com/~flook/nexus.htm From Planetgrog@aol.com Wed, 6 May 1998 19:50:39 EDT Date: Wed, 6 May 1998 19:50:39 EDT From: Planetgrog Planetgrog@aol.com Subject: Portishead In a message dated 5/6/98 11:43:13 PM, you wrote: <> My boyfriend has one! No wonder he suspected hearing it... Off the subject a little, he bought his at someone's yard sale in L.A. for $15. Works great--could be fun to duet with him on that... From TheeXVirus@aol.com Wed, 6 May 1998 19:57:21 EDT Date: Wed, 6 May 1998 19:57:21 EDT From: TheeXVirus TheeXVirus@aol.com Subject: Portishead It's not really theremin....keyboards. From cx955@freenet.carleton.ca Wed, 6 May 1998 20:23:56 -0400 (EDT) Date: Wed, 6 May 1998 20:23:56 -0400 (EDT) From: Dylan David Wagner cx955@freenet.carleton.ca Subject: Portishead > > >In a message dated 5/6/98 11:43:13 PM, you wrote: > ><> > >My boyfriend has one! No wonder he suspected hearing it... Off the subject a >little, he bought his at someone's yard sale in L.A. for $15. Works >great--could be fun to duet with him on that... Further on the off the subject trail: Smegging frigging Irk! That has to be the best deal in recorded history! Makes me want to become a garage sale bum... Oh well... Just to make this theremin relevant: anyone know how to build a terpistone from a thermivox kit? -- Urg Burglle Splatch? Just another solution to ALL of life's problems from Dylan David Wagner at: cx955@Freenet.Carleton.CA From rmast@tezcat.com Wed, 6 May 1998 19:29:43 -0500 Date: Wed, 6 May 1998 19:29:43 -0500 From: Russell Mast rmast@tezcat.com Subject: First things First things. The one reference I remember, in fact the only one I remember, is that the theremin is the first ALL-Electronic musical instrument. Other instruments may use electricity somehow, but they aren't purely electronic. By that, I'm not talking about how complex the circuitry is or whether it's using valves. Basically, it has no moving parts. Yes, there's a speaker and an amp, but they don't make the music, they merely turn it into something you can hear. All of the music is made by the electronics. In this distinction, one of those old Hammonds that are so popular is not all-electronic, nor is an optigan. But a synthesizer is. My understanding is that all of the earlier instruments using electricity also used some kind of mechanical parts or other, uh, stuff to make it work. Didn't Dr. Moog discuss this in his presentation at the convention? Q: What's the difference between a violin and a viola? A: A viola burns longer. Atonal music can be pretty bad, but even a blind squirrel finds a nut now and then. I really like a lot of the transcendentalist stuff that used funny scales like the whole-tone scale. Tubes are better than transistors, Apple is better than Microsoft, Nike is better than Adidas, neener neener neener. Ahem. Sorry. -Russell Mast From gbswift@telis.org Wed, 06 May 1998 16:38:22 -0800 Date: Wed, 06 May 1998 16:38:22 -0800 From: Gary B. Swift gbswift@telis.org Subject: The Plasma Ball Dylan David Wagner wrote: > >...I could ruffle their hair, touch their face, fondle their derriere > and the sound would still happen... How creative, Dylan. I've never thought of such a good excuse to fondle my audience's buttocks! =gary= From Planetgrog@aol.com Wed, 6 May 1998 22:55:42 EDT Date: Wed, 6 May 1998 22:55:42 EDT From: Planetgrog Planetgrog@aol.com Subject: First things First things. In a message dated 5/7/98 12:26:22 AM, you wrote: <> Anyone else have an optigan? Just one more historic bargain story-my boyfriend spent $400 on an optigan, showed it to our band mate, and our band mate got one for $20 the next day... Optigans are a lot of fun. It's like the poor person's mellotron, even though it's still expensive... From dball@esper.com Thu, 7 May 1998 10:07:22 -0500 Date: Thu, 7 May 1998 10:07:22 -0500 From: David Ball dball@esper.com Subject: Another theremin on ebay Hey folks, Here's the URL for a theremin for sale on ebay auctions: http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=13265571 Dave Ball From AKarlok@aol.com Thu, 7 May 1998 16:34:43 EDT Date: Thu, 7 May 1998 16:34:43 EDT From: AKarlok AKarlok@aol.com Subject: books Does anyone know the status of Albert Gunskys' book "Out of Thin Air: Theremin and the Age of Ether" I was looking at last years Portland show program, and it mentions it in his bio. Just wondering if it's out or comming out still. I can't seem to find anything on it at any of the book sites, thanks Andy From jmsnyder@earthlink.net Thu, 07 May 1998 20:50:20 -0400 Date: Thu, 07 May 1998 20:50:20 -0400 From: John Snyder jmsnyder@earthlink.net Subject: books I don't know the projected publish date, but the last I knew, having talked with Albert a few months ago, the book is very much in the works, and I expect will be pretty much the definitive work on the Theremin story. Although he is having a difficult time finishing the book as knew material keeps popping up here and there! Best Regards, John Snyder At 04:35 PM 5/7/98 -0400, you wrote: > Does anyone know the status of Albert Gunskys' book "Out of Thin Air: >Theremin and the Age of Ether" > I was looking at last years Portland show program, and it mentions it in his >bio. Just wondering if it's out or comming out still. I can't seem to find >anything on it at any of the book sites, thanks > > Andy > > From olivia@christa.unh.edu Fri, 8 May 1998 10:58:57 -0400 (EDT) Date: Fri, 8 May 1998 10:58:57 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Electric vs. electronic Could someone explain to a numbskull like me the difference between electric and electronic? John M. makes the distinction. Olivia On Mon, 4 May 1998 John_Mitchell@ascend.com wrote: > Robert F. wrote: > > >Several of us on our websites refer to the theremin as "the world's first > >electronic musical instrument", but everytime I read about things like > >Cahill's telharmonium, the choralcello, the singing arc, musical > telegraph, > >it no longer seems like what I wrote and tell people about "the first" is > >actually correct. All of you historians and semanticists out there: > What's > >the best way out of this dilemma? Should we reword this to make it "more > >true"? > > > > Ah, but Sawman, you are still correct! The singing arc, telharmonium, etc. > > were *electrical* instruments. Theremin's use of tubes makes his > > instrument the first *electronic* instrument. > > > > > > johnm > > From olivia@christa.unh.edu Fri, 8 May 1998 11:11:52 -0400 (EDT) Date: Fri, 8 May 1998 11:11:52 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Olivia Termena Dear group, Just for the record, Theremin did NOT propose to me. I simply asked him about his marriages. I said, "Lev Sergeivitch, you've had three wives: Katia, Lavinia and Maria." And he replied (age 95), "Yes, and I'm looking for a fourth!" Olivia On Wed, 6 May 1998, Bernard Roy wrote: > Oh Olivia! You silly, stupid, girl! You should have married Prof. Theremin > years ago when he asked you, and none of this would have happened. What on > EARTH were you thinking of when you politely declined? You would now be > Olivia Termena, and we'd have the polyphonic theremin, the terpsitone, the > whole kit & kaboodle! You could have been a sort of latter-day Alma Mahler > (she had the dubious distinction of having married not ONE, but THREE > celebrated musicians of her time). From olivia@christa.unh.edu Fri, 8 May 1998 11:19:29 -0400 (EDT) Date: Fri, 8 May 1998 11:19:29 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: books Dear Andy, > Does anyone know the status of Albert Gunskys' book "Out of Thin Air: > Theremin and the Age of Ether" That's Glinsky. Last I heard, Albert is still working on it. It's going to be a BRILLIANT book. The publisher is University of Illinois press, and the new projected date is 1999. Send your encouragements to: avglinsky@aol.com Olivia From AKarlok@aol.com Fri, 8 May 1998 14:11:02 EDT Date: Fri, 8 May 1998 14:11:02 EDT From: AKarlok AKarlok@aol.com Subject: Electric vs. electronic "o,n" Andy From b105@b105.com.au Sat, 9 May 1998 05:49:59 +1000 Date: Sat, 9 May 1998 05:49:59 +1000 From: B105 b105@b105.com.au Subject: What you have been waiting for!! Brothers and Sisters, follow this link to fun and freedom! (well not really freedom) http://www.softseek.com/cgi-bin/download?08023-http://www.sagebrush.com/%7Es ells/mousng23.exe A Windows Based Mouse controlled Thingy... Wooo eeeeoeeeooooeoeeee I did that with my pointer! xx Andrew Reply to spidey@bit.net.au From nbrady@spike.forfree.at Sat, 09 May 1998 00:30:32 +0100 Date: Sat, 09 May 1998 00:30:32 +0100 From: Niall Brady nbrady@spike.forfree.at Subject: Portishead Perhaps there's a different version of the album in the U.S., but on the European version it's on track 6, Humming. The sound is played on a Moog (at least it was for the New York show which was recorded for television)... it starts off as an accompaniment to a strings line, then Beth's vocal comes in, and it just goes on from there as part of the song! Regards, Niall Brady. nbrady@forfree.at *********** REPLY SEPARATOR *********** On 06/05/98, at 17:22, Planetgrog wrote: >Any Portishead fans out there? I read that there's a theremin on the new >album so I bought it to listen for the theremin track(s) but couldn't find it >or didn't notice it in there... Anybody know what song it's on and what it's >doing? From nbrady@spike.forfree.at Sat, 09 May 1998 00:35:01 +0100 Date: Sat, 09 May 1998 00:35:01 +0100 From: Niall Brady nbrady@spike.forfree.at Subject: Portishead Perhaps there's a different version of the album in the U.S., but on the European version it's on track 6, Humming. The sound is played on a Moog (at least it was for the New York show which was recorded for television)... it starts off as an accompaniment to a strings line, then Beth's vocal comes in, and it just goes on from there as part of the song! Regards, Niall Brady. nbrady@forfree.at *********** REPLY SEPARATOR *********** On 06/05/98, at 17:22, Planetgrog wrote: >Any Portishead fans out there? I read that there's a theremin on the new >album so I bought it to listen for the theremin track(s) but couldn't find it >or didn't notice it in there... Anybody know what song it's on and what it's >doing? From Planetgrog@aol.com Fri, 8 May 1998 23:56:23 EDT Date: Fri, 8 May 1998 23:56:23 EDT From: Planetgrog Planetgrog@aol.com Subject: what's new? Hi everyone! It's been so quiet lately!!!!! So here's another question--What band or artist have you been listening to lately? Thereminning with it for fun? (whenever I tell my boyfriend about levnet, he keeps thinking I say lovenet) Anyways, does anybody know about the Theremin Music Center in Moscow? I saw a page on it but thought maybe someone here has been there and could tell about it. Seems like it could be a great recording facility! For recording theremin at home, does anyone have suggestions--type of mic, mic placement in a small room, etc.? I love tape machines but for now, we have a hard disk recorder...it works really well with what we've done with it ( I know, analog is best for saturation), and it's portable. Gotta get to dinner now!!!! Can't wait to hear from you.. Pamelia From PhilipMann@aol.com Sat, 9 May 1998 01:58:24 EDT Date: Sat, 9 May 1998 01:58:24 EDT From: PhilipMann PhilipMann@aol.com Subject: what's new? This is a multi-part message in MIME format. --part0_894693504_boundary Content-ID: <0_894693504@inet_out.mail.aol.com.1> Content-type: text/plain; charset=US-ASCII Interesting question, Groggy. I usually plug my Theremins into a digital delay, and then into an amp. If you are concerned about miking a Theremin, you probably have an original RCA model. Every Theremin I've ever seen had an audio output. I don't know much about microphones, but I would guess that the register you play in the most will have a bearing in what microphone you choose. With the Maestro Theremin (see attached photo), I tend to play in the high register, but when I play the Big Briar Etherwave, I play in the low register. (That's pretty much all it has.) I hope that I have been some help to you. Good day. Phil --part0_894693504_boundary-- From AKarlok@aol.com Sat, 9 May 1998 02:28:27 EDT Date: Sat, 9 May 1998 02:28:27 EDT From: AKarlok AKarlok@aol.com Subject: what's new? Yeah, it does seem pretty quite, I remember when I first got on, everyone was saying it 's been slow, untill then, then things really picked up, then again it is the weekend I also use a hard drive recorder, and used it to do a couple of commercials with my theremin, and for that i ran it through direct and added a reverb, and was able to get a pretty good full sound. Even the times I've used it in a real studio, I went direct. I just seem to be able to controll the sound more As far as music to play theremin to, I like turning on the radio, and coming up parts to whatever's on, especialy figuring out the bass parts, and just doing long tones to get my ears in shape. Andy From Planetgrog@aol.com Sat, 9 May 1998 03:24:28 EDT Date: Sat, 9 May 1998 03:24:28 EDT From: Planetgrog Planetgrog@aol.com Subject: what's new? In a message dated 5/9/98 6:44:53 AM, you wrote: <> In a real studio, I've done it direct but then I sort of liked how we got a good room sound with a good vocal mic and another mic in front of the amp I was going out of--I love the vibro-king guitar amp...tubes and all!! It sounds great for the ethervox or the etherwave. For home, I'll probably try exploring everything -- direct, mic, or just do it in the studio! Thanks for your advice, Andy and Phillip! (this is a totally separate thing) One more question, levnetters--- I'm on a tight budget and I want to record lots of theremin tracks but the music I'm doing cannot be done with a click track. Is there any way I can sych up a video of me conducting, with a tape machine? We have a Stephens 24 track here and stripe smpte--is smpte used for synching up with video? What programs should I look for if it involves a computer? I might just go to a studio with the right equipment, but hopefully you might know how I could accomplish this without having to resort to that. Thanks! Pamelia From royber@total.net Sat, 9 May 1998 04:51:25 -0500 Date: Sat, 9 May 1998 04:51:25 -0500 From: Bernard Roy royber@total.net Subject: The Plasma Ball I guess the plasma ball's effect was primarily visual and not musical. I had imagined that maybe it could actually "play" the theremin the way the wind "plays" a harp (complete with changing melodies, harmonies etc.) If you have access to a harp, big, small, whatever, take it outside on a windy day, you'll be amazed. From royber@total.net Sat, 9 May 1998 05:14:16 -0500 Date: Sat, 9 May 1998 05:14:16 -0500 From: Bernard Roy royber@total.net Subject: The Plasma Ball >Dylan David Wagner wrote: >> >>...I could ruffle their hair, touch their face, fondle their derriere >> and the sound would still happen... > > Gary Swift replied: >How creative, Dylan. I've never thought of such a good excuse to fondle my >audience's buttocks! > The all time height of audience manipulation was accomplished by the late British eccentric and self-appointed "Beast" Aleister Crowley, who offered members of his audience a "loving cup" in the lobby when they came to one of his public so-called occult rituals. Yes, people actually DID see all sorts of incredible and frightening materializations etc., not because Mr. Crowley was a master adept, but because the "loving cup" was spiked with a mixture of opium and peyote. Think of what the man could have done with the theremin. From royber@total.net Sat, 9 May 1998 05:24:50 -0500 Date: Sat, 9 May 1998 05:24:50 -0500 From: Bernard Roy royber@total.net Subject: Electric vs. electronic Olivia Mattis wrote: >Could someone explain to a numbskull like me the difference between >electric and electronic? John M. makes the distinction. > >Olivia > Olivia, you of all people should know that the theremin is an ELECTRONICAL instrument. From royber@total.net Sat, 9 May 1998 05:31:32 -0500 Date: Sat, 9 May 1998 05:31:32 -0500 From: Bernard Roy royber@total.net Subject: Olivia Termena >Dear group, > >Just for the record, Theremin did NOT propose to me. I simply asked him >about his marriages. I said, "Lev Sergeivitch, you've had three wives: >Katia, Lavinia and Maria." And he replied (age 95), "Yes, and I'm looking >for a fourth!" > >Olivia > >On Wed, 6 May 1998, Bernard Roy wrote: > >> Oh Olivia! You silly, stupid, girl! You should have married Prof. Theremin >> years ago when he asked you, and none of this would have happened. What on >> EARTH were you thinking of when you politely declined? You would now be >> Olivia Termena, and we'd have the polyphonic theremin, the terpsitone, the >> whole kit & kaboodle! You could have been a sort of latter-day Alma Mahler >> (she had the dubious distinction of having married not ONE, but THREE >> celebrated musicians of her time). Olivia, It is quite obvious (age 95 or NOT) That the above "Yes, and I'm looking for a fourth"..... nudge, nudge, wink, wink, know what I mean, know what I mean..... is a marriage proposal. It's all in the reading. He had superb taste in women, and you should be very flattered. From royber@total.net Sat, 9 May 1998 05:39:34 -0500 Date: Sat, 9 May 1998 05:39:34 -0500 From: Bernard Roy royber@total.net Subject: what's new? Philip Mann in reply to planetgrog's question about recording the theremin: > Interesting question, Groggy. I usually plug my Theremins into a digital >delay, and then into an amp. If you are concerned about miking a Theremin, >you probably have an original RCA model. Every Theremin I've ever seen had an >audio output. Samuel Hoffman's RCA had both a built-in speaker, AND a direct XLR (with an independent volume control) audio out for recording. We think he had this installed sometime in the mid 1950's when it became popular to record directly to tape. From dball@esper.com Sat, 9 May 1998 08:27:03 -0400 Date: Sat, 9 May 1998 08:27:03 -0400 From: David Ball dball@esper.com Subject: what's new? Pamelia wrote: >In a real studio, I've done it direct but then I sort of liked how we got a >good room sound with a good vocal mic and another mic in front of the amp I >was going out of--I love the vibro-king guitar amp...tubes and all!! It >sounds great for the ethervox or the etherwave. For home, I'll probably try >exploring everything -- direct, mic, or just do it in the studio! Thanks for >your advice, Andy and Phillip! The amp and speaker has a major impact on the tone of the theremin. I would think that if recording direct, the result would be a recording of an instrument quite unlike the one the performer was accustomed to hearing. Could be good--but it would definitely be different. Dave Ball From olivia@christa.unh.edu Sat, 9 May 1998 09:14:57 -0400 (EDT) Date: Sat, 9 May 1998 09:14:57 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Interesting workshop Dear Levnetters, This message was sent to another list I'm on, and may be of interest to some folks in our group, particularly those of you in Europe. Olivia ---------- Forwarded message ---------- Date: Fri, 8 May 1998 20:40:47 +0100 (BST) From: "Gregg Wagstaff, University of Dundee, Scotland." Dear ear-minded friends, Please read and disseminate / fwd the following information. Thank you, Gregg Wagstaff ______________________________________________________ SOUND ARTS LAB _____________________________________________________ 6th - 19th July 1998 @ The School of Television & Imaging, Duncan of Jordanstone College of Art & Design, University of Dundee, Scotland UK. The Sound Arts Lab will be running in the Summer of '98. We welcome applications from all 'ear-minded' individuals to take part in a 2 week period of sonic interchange: - seminars, facilility access, studio and gallery space, soundwalks, and crosstalk. * Please note deadline for applications is June 1st 1998. Aim: to facilitate the experimentation of artists and acousticians from varying disciplines who have in common the medium of sound. This could include installation artists, composers, radio artists, architects, acoustic ecologists, planners, performance artists, writers. The Sound Arts Lab hopes to provide a creative environment for individual and collaborative works to evolve and the interchange of ideas - practical / theoretical / educational to take place. This could be a testing ground for works in progress and new works intended for exhibition. Application: Please submit (e-mail accepted) a current CV and biography, including description of the project you wish to undertake and what input, if any, would be required of other artists or operators. Also describe what you could contribute to the makeup of the workshop and a list of technical skills. Collaborative applications are welcome. (Preference will be given to those artists able to attend both weeks. It is possible for artists to attend one week, depending on the nature of their application and their input to the workshop). Places: limited to 12. This will made up of approximately half sound-artists and half artists / practitioners from complementary disciplines. (Due to the postponement of last years SALab, two of these places have been gauranteed to funded artists). Please note that the School of TVi reserves the right to cancel the Lab if 12 funded places cannot be filled. Cost: 200 per week, per person. This includes - accommodation, facility and equipment use, operational & technical support. This does not include travel, sustenance or any materials. (Fees may be subsidised depending on the success of the DJCA in securing outside funding. To assist with their fees, applying artists are recommended to make applications to their local and regional Arts Councils and other grant giving bodies). Deadline: June 1st 1998. Artists to be notified by post by June 5th 1998. Gregg Wagstaff will lead two 'Soundwalks' on the weekend of July 11th & 12th. These excursions will also provide the opportunity to relax and see some of Scotland's wonderful landscape. Travel will be provided to the 'Great Glens' on Saturday, and then on Sunday to the East coast. In both cases a walked route will be followed which will focus one's ears on particular phenomenon within the soundscape. Individuals will be encouraged to contribute to a sound diary for each day, using whatever form of notation they wish. These Soundwalks will also be open to members of the public outside of the Sound Arts Lab. Any interested ears should contact Gregg Wagstaff or Jo Coull as soon as possible. You will be able to see / hear / read documentation of the Sound Arts Lab including Soundwalks on these pages by the end of July 1998. For further information see: http://imaging.tvi.dundee.ac.uk/soundArtsLab/ e-mail jcoull@dundee.ac.uk or g.a.wagstaff@dundee.ac.uk tel. Jo Coull (Production Manager) +44 (0)1382 345250 fax. +44 (0)1382 226136. From joan@mediaone.net Sat, 09 May 1998 11:27:48 +0000 Date: Sat, 09 May 1998 11:27:48 +0000 From: joan joan@mediaone.net Subject: Electric Logs - Great Stuff Hey Gang, I had the opportunity (a.k.a. I got off my butt and went out on a school night) to see Andy Karlok's band, The Electric Logs (in Boston). They are great! What fun! Our left-handed Andy played through a fender amp and got a really phat tone out of his etherwave. Switching between his bass and theremin, Andy played along with his band mates (keys and drums) to a variety of familiar tunes, including Our Man Flint, Son of a Preacher Man (no theremin, but with a kazoo!) and You Can't Always Get What You Want. Before you think "akk what are they doing?" I'd like to point out all the "Logs" are accomplished musicians with a GREAT sense of humor. And when Andy played the theremin, the audience wasn't laughing, they were in awe. It made the room glow with smiles. I even witnessed some audience members bowing "the I'm not worthy bow" whenever the theremin was played. It was great to see the theremin bring so much joy... to the audience. I've probably just embarrassed the hell out of Andy. But he hasn't *really* plugged his band since he joined levnet and I thought levnet needed to know more about them. They have a tape, 5 songs, $5 (maybe more for shipping dunno). Send email to ELogs@aol.com or to Andy (I'm guessing here) AKarlok@aol.com I've enclosed a recent email press release, you can subscribe by writing to ELogs@aol.com Joan ------------------ The Electric Logs are: Allan "Two Shoes" Sheinfeld ~ keyboards, boozy baritone Andy "Big Money" Karlok ~ bass, theremin, lap steel "Tanqueray Tommy" Smith ~ drums ------------------ “SMOOTH as a virgin silk ascot! HOT as a day-old lava lamp! PASSIONATE as a used Wayne Newton hanky! UNPREDICTABLE as Moet baking in the Hollywood sunshine!" Imagine . . . a jazzy hi-fi sitcom with Esquivel, Ed "Kookie" Byrnes, and Spike Jones wrassling for control of the soundtrack and you've got a 3-D idea what to expect from THE ELECTRIC LOGS. >From swingin' sambas and fractured film scores to the creations of acid casualty song-poet Rodd Keith.” (Tom Smith, Famous Writer) ------------------- “Boston's Electric Logs have disemboweled lounge/exotica no less radically than the Pistols did rock -- making it matter again, using humor, irony, killer chops -- opening new doors, and redefining swank in the process. They remind me of the Lady In The Radiator from Eraserhead: a nightmare wrapped in saccharin.” (Joey Ray Coughlin, The Noise) From AKarlok@aol.com Sat, 9 May 1998 12:53:05 EDT Date: Sat, 9 May 1998 12:53:05 EDT From: AKarlok AKarlok@aol.com Subject: what's new? I've used my etherwave through an amp in the studio, a simple little fender 110, and it works ok, it just seems going direct, at least with my etherwave I can controll the sound more, and get a reaaly full traditional sound. If I ever have access to any other model, I'd approach it differently, and proply would use a diiferent set up, espicially if I was using a tube one, but for now, this set up seems to work fine for me Andy From busmstr@california.com Sat, 09 May 1998 11:20:36 -0700 Date: Sat, 09 May 1998 11:20:36 -0700 From: Robert N. Silverman busmstr@california.com Subject: what's new? AKarlok wrote: > I've used my etherwave through an amp in the studio, a simple little fender > 110, and it works ok, it just seems going direct, at least with my etherwave I > can controll the sound more, and get a reaaly full traditional sound. > If I ever have access to any other model, I'd approach it differently, and > proply would use a diiferent set up, espicially if I was using a tube one, but > for now, this set up seems to work fine for me > Andy Greetings Levnetters, Given the plethora of effect units which create various speaker, cabinet, and amplifier simulations, I usually prefer "going direct" when playing my Etherwave. The tonal control and effect patches that I have created with my Ensoniq DP/2 have allowed me to simulate a variety of classic Theremin sounds, ala Rockmore and Hoffman ( although there is truly no substitute for a "real" tube Theremin). Using a tube mic preamplifier or a tube direct box might also "fatten" the sound of a transistorized Theremin as well. Micro-tonally yours, Robert From pluto@4link.net Sat, 09 May 1998 12:04:09 -0700 Date: Sat, 09 May 1998 12:04:09 -0700 From: Ross Marshall pluto@4link.net Subject: recording Planetgrog wrote: > > In a message dated 5/9/98 6:44:53 AM, you wrote: > > < real studio, I went direct. I just seem to be able to controll the sound > more>> > > In a real studio, I've done it direct but then I sort of liked how we got a > good room sound with a good vocal mic and another mic in front of the amp I > was going out of--I love the vibro-king guitar amp...tubes and all!! It > sounds great for the ethervox or the etherwave. For home, I'll probably try > exploring everything -- direct, mic, or just do it in the studio! Thanks for > your advice, Andy and Phillip! > > (this is a totally separate thing) > One more question, levnetters--- I'm on a tight budget and I want to record > lots of theremin tracks but the music I'm doing cannot be done with a click > track. Is there any way I can sych up a video of me conducting, with a tape > machine? We have a Stephens 24 track here and stripe smpte--is smpte used for > synching up with video? What programs should I look for if it involves a > computer? > > I might just go to a studio with the right equipment, but hopefully you might > know how I could accomplish this without having to resort to that. > > Thanks! > Pamelia .................... Pam; If you're ever in North Hollywood, come by with music and theremin and we'll record you. We have almost a complete studio. We can do video as well. ROSS MARSHALL 1-818-504-4135 From cx955@freenet.carleton.ca Sat, 9 May 1998 15:07:26 -0400 (EDT) Date: Sat, 9 May 1998 15:07:26 -0400 (EDT) From: Dylan David Wagner cx955@freenet.carleton.ca Subject: what's new? >Given the plethora of effect units which create various speaker, cabinet, and >amplifier simulations, I usually prefer "going direct" when playing my Etherwave. >The tonal control and effect patches that I have created with my Ensoniq DP/2 have >allowed me to simulate a variety of classic Theremin sounds, ala Rockmore and >Hoffman ( although there is truly no substitute for a "real" tube Theremin). Using >a tube mic preamplifier or a tube direct box might also "fatten" the sound of a >transistorized Theremin as well. > Hmm, I've been meaning to pick up a tube pre-amp to fatten up my theremin, but was wondering if anyone's ever tried to run their etherwave (or other) through the filters on an analogue keyboard. I just picked up an MG-1 and a Micromoog, both of which allow audio inputs to the filters. Guess rather than ask I should just give it a try... Answer my own question... By the by, still no one with any ideas on how to build a terpistone out of the paia kit, eh? -- Urg Burglle Splatch? Just another solution to ALL of life's problems from Dylan David Wagner at: cx955@Freenet.Carleton.CA From pluto@4link.net Sat, 09 May 1998 14:17:57 -0700 Date: Sat, 09 May 1998 14:17:57 -0700 From: Ross Marshall pluto@4link.net Subject: TUBE KING Dylan David Wagner wrote: > > >Given the plethora of effect units which create various speaker, cabinet, and > >amplifier simulations, I usually prefer "going direct" when playing my Etherwave. > >The tonal control and effect patches that I have created with my Ensoniq DP/2 have > >allowed me to simulate a variety of classic Theremin sounds, ala Rockmore and > >Hoffman ( although there is truly no substitute for a "real" tube Theremin). Using > >a tube mic preamplifier or a tube direct box might also "fatten" the sound of a > >transistorized Theremin as well. > > > > Hmm, I've been meaning to pick up a tube pre-amp to fatten up my > theremin, but was wondering if anyone's ever tried to run their etherwave > (or other) through the filters on an analogue keyboard. I just picked up ................. I use a TUBE KING. Ross From pluto@4link.net Sat, 09 May 1998 14:24:47 -0700 Date: Sat, 09 May 1998 14:24:47 -0700 From: Ross Marshall pluto@4link.net Subject: Wild Music for Psychotic-Thereminists. Pamelia; Hey, if you like jazz tunes on the theremin, try BEAU HUNKS The Original Little Rascals "On To The Show" CD by KOCH Enterpr. CD # 3-8705-2 I play this one and the first Volume -I. Some are not possible to play. Most sound hard, but with invention and practice the tunes can be approximated and stylized with special pitch hand tricks. These will really break the hands up and ware them out. Great practices for wrist, finger and hand(s) development. TRY TEMPO or BLOCKBUSTER CD's. Any BIG tape, CD store. ROSS From pluto@4link.net Sat, 09 May 1998 14:34:18 -0700 Date: Sat, 09 May 1998 14:34:18 -0700 From: Ross Marshall pluto@4link.net Subject: Web Site Fingers & Hands Question for all THEREMINISTS: How would you like to study some hand positionings and fingers in digital photo format on my web site? With some minor notations? Sense the techniques video is slow to get goping. My friend has a digital camera, high resolution. I can take snaps in series showing what "I" do at the pitch antenna. Will make a series of comic book panels to give illusion of fingering movement. Send reply to levnet and let me know how many of you are interested. Also, don't forget my theremin tape series. See http://www.4link.net/~pluto/music.html ROSS MARSHALL From royber@total.net Sat, 9 May 1998 16:35:06 -0500 Date: Sat, 9 May 1998 16:35:06 -0500 From: Bernard Roy royber@total.net Subject: what's new? >Pamelia wrote: > >>In a real studio, I've done it direct but then I sort of liked how we got a >>good room sound with a good vocal mic and another mic in front of the amp I >>was going out of--I love the vibro-king guitar amp...tubes and all!! It >>sounds great for the ethervox or the etherwave. For home, I'll probably >try >>exploring everything -- direct, mic, or just do it in the studio! Thanks >for >>your advice, Andy and Phillip! > David Ball replied: >The amp and speaker has a major impact on the tone of the theremin. I >would think that if recording direct, the result would be a recording of an >instrument quite unlike the one the performer was accustomed to hearing. >Could be good--but it would definitely be different. > In a way, you have more control of the sound if you record direct because there is no other device imposing its parameters on what you put onto tape. I'd love to know how Groggy feels about the built-in amp for the Ethervox, using only the SPEAKER OUT jack on the external box. Groggy, you're the only person I know (besides myself), who has an Ethervox. How do you like it? Are you as crazy about it as I am? Have you experimented much with the MIDI functions? P.P. From cx955@freenet.carleton.ca Sat, 9 May 1998 19:25:44 -0400 (EDT) Date: Sat, 9 May 1998 19:25:44 -0400 (EDT) From: Dylan David Wagner cx955@freenet.carleton.ca Subject: TUBE KING >> Hmm, I've been meaning to pick up a tube pre-amp to fatten up my >> theremin, but was wondering if anyone's ever tried to run their etherwave >> (or other) through the filters on an analogue keyboard. I just picked up >................. >I use a TUBE KING. G'day, Quite interested! Do you use an etherwave? What does the Tube King do to the sound? (obviously it fattens it, but VERY noticealy, or sorta noticeably??) How much do Tube King's usually go for? Is it a pre-amp or a pedal? If it is a pre-amp does one have to remove one's existing solid state pre-amp? (I use a Fender 100W Keyboard amp) -- Urg Burglle Splatch? Just another solution to ALL of life's problems from Dylan David Wagner at: cx955@Freenet.Carleton.CA From clester@137.com Sat, 09 May 1998 22:55:05 -0700 Date: Sat, 09 May 1998 22:55:05 -0700 From: Charlie Lester clester@137.com Subject: recording the theremin For the recording sessions I've worked on (3), I've urged them to treat the theremin as a vocalist or acoustic instrument and MIKE it. I am very leery of direct feed because you don't have any real control over the sound, or know what it ~really~ sounds like because you can't hear it until after the fact. Even with headphones from the mixer you're not getting an accurate read on the tone quality. Furthermore, the "room" adds a lot to the sound quality of the theremin, especially in a resonant room. Gives it much more of an acoustic quality and softens out the electronic edginess. Of course, this is really true of any sort of musical tone -- which is why even ~I~ sound good when singing in the shower! The room becomes a part of the instrument; forms a "grand soundboard" and adds a whole 'nuther dimension to the sound. Now, granted, in an acoustically dry room like a recording studio you don't get as much "room tone" as you would in a stone cathedral. But it's still there to some degree. And, again, letting the instrument speak through its own speaker and miking it gives it a much more natural quality and really lets the performer hear the "real" sound. (Of course, if you're purposely seeking that "cheezy 50s sound" then room tone doesn't matter much, I suppose.) Just this week, on the Discovery Channel gig I did, that's how we did it; [miked the theremin] and they didn't even question it. I suppose if it ever came to arguing about it, I'd give in before coming to blows over it but I would certainly hold my ground as long as possible. And speaking of Discovery Channel, the composer had me do something really interesting that did some great stuff to the sound. He asked me to play absolutely full-blast. And I mean LOUD! I did of course put expression into it --- but everything I played was way, way at top volume levels. Now, what that did for the sound was add a tremendous train of overtones and ~just~ a touch of distortion and fuzz. When mixed in with the orchestra and played back, it sounded FANTASTIC! And finally, he sweetened it with a hint of reverb which made it even richer. Also, btw, I use a late '50s Sherwood tube amp for all my instruments -- Melodia, Ethervave, 91-A, and Ethervox (to come). I had access to an Ethervox for about two weeks when Bob Moog came out here to L.A. for the NAMM show; and that instrument benefited from the tube amp just as much as all the others have. I definitely recommend tubes. There really is a tremendous difference. FWIW ~ ~~~ ~~~~~~~ Charlie Lester From pluto@4link.net Sat, 09 May 1998 23:57:58 -0700 Date: Sat, 09 May 1998 23:57:58 -0700 From: Ross Marshall pluto@4link.net Subject: TUBE KING Dylan David Wagner wrote: > Quite interested! Do you use an etherwave? NO. I play a 91A. With gitar tube amp. A Tube King pre-amp. What does the > Tube King do to the sound? (obviously it fattens it, but VERY noticealy, > or sorta noticeably??) I'M STILL EXPERIMENTING. It's richer, etc. How much do Tube King's usually go for? $120-40 dollars. a pre-amp. If it is a pre-amp does one have to remove one's > existing solid state pre-amp? (I use a Fender 100W Keyboard amp) NO. Ross. From theremin@cyberartists.com Sat, 9 May 1998 23:42:53 -0700 Date: Sat, 9 May 1998 23:42:53 -0700 From: Jason Barile theremin@cyberartists.com Subject: what's new? ------ =_NextPart_000_01BD7BA6.2CD9C9E0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi all. Well, it's been nearly a month, but I can finally send e-mail from this account again. I've been on a trial service plan with Microsoft and GTE that gave me a direct Internet connection to my apartment (for free!!). Out of the blue, they decided I'd need to buy a GTE mail account to continue with the service. So, I spent the day switching back to the modem. So what have I been doing all this time? I had my first rehearsal today with all the members of our new band - working title, "Graverobbers from Outer Space." In addition to theremin, I'm playing keyboards and a sampler. The few covers we're playing are by the likes of Maceo Parker, John Coltrane, etc. Other than that, we'll be an eccentric mix of original jazz, funk, and blues. I've also been building my own diamond speaker in anticipation of the Ethervox. It's roughly based on the Big Briar plexiglass speaker, but mounts on a huge lighting stand rather than a mic stand (I'm tall - they don't go high enough :). Other than that... work work work - what else is new? Looks like I'm going to have to cancel my registration to the Theremin Workshop this summer. I'm going to hate to miss it, but with 4 friends getting married this summer, I've got to use my vacation time this year for them. So, if anyone's in the Seattle area and wants to put together some kind of weekend-long mini festival, please get in touch! Hope everyone's well and practicing daily!! -Jason -----Original Message----- From: Planetgrog [SMTP:Planetgrog@aol.com] Sent: Friday, May 08, 1998 8:57 PM To: Multiple recipients of list Subject: what's new? Hi everyone! It's been so quiet lately!!!!! So here's another question--What band or artist have you been listening to lately? Thereminning with it for fun? (whenever I tell my boyfriend about levnet, he keeps thinking I say lovenet) Anyways, does anybody know about the Theremin Music Center in Moscow? I saw a page on it but thought maybe someone here has been there and could tell about it. Seems like it could be a great recording facility! For recording theremin at home, does anyone have suggestions--type of mic, mic placement in a small room, etc.? I love tape machines but for now, we have a hard disk recorder...it works really well with what we've done with it ( I know, analog is best for saturation), and it's portable. Gotta get to dinner now!!!! Can't wait to hear from you.. 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the opportunity to go into the studio several times with my theremin, and the first couple of times set of my amp, and had them mike it, and treat it as an accostic instrument, and yes it did sound good, but I find, at lest with my set up, and the fact I'm not usually around for any of the mix downs, that the final sound, sounds just as good, and since going direct, I leave them with a signal thats a little easier to work with (or less to mess up) , plus it goes quicker, going direct, and I can save my clients a little money. I know, I know, it shouldn't boil down to money, but even when I'm in my own studio, ok, my basement with my 8-track, I can still get as good as sound going direct, spicially by the time I add any effects. andy From Planetgrog@aol.com Sun, 10 May 1998 03:45:16 EDT Date: Sun, 10 May 1998 03:45:16 EDT From: Planetgrog Planetgrog@aol.com Subject: what's new? In a message dated 5/9/98 9:26:54 PM, you wrote: <> I'm a midi bone-head!!!! So far, I've just been using the beautiful sounds I get without midi but I'm eager to try midi. I tried to hook it up with a keyboard but the pitch bend on the theremin would only do one or two notes. I'm not sure how to get it to interpret the complete range of the keyboard. I've controlled tempos of beats before with the theremin but by accident!!! Eventually I'll get my **** together and learn how to do that stuff!! From rwheeler@accnorwalk.com Sun, 10 May 1998 10:00:55 -0400 Date: Sun, 10 May 1998 10:00:55 -0400 From: Robert Wheeler rwheeler@accnorwalk.com Subject: LEVNET digest 305 > Hmm, I've been meaning to pick up a tube pre-amp to fatten up my >theremin, but was wondering if anyone's ever tried to run their etherwave >(or other) through the filters on an analogue keyboard. I just picked up >an MG-1 and a Micromoog, both of which allow audio inputs to the filters. I've been a bit behind on my reading, I just got back from a one month European tour. We'll be doing a 2 week USA/Canada tour in June. I run my theremin (home built 18 yrs ago) through my EML-101 to give the sound more texture, and then through my ASR-10 for reverbs, or other effects. In regards to Theremin recordings, the past 2 studio Pere Ubu CD's have me playing theremin. (also our 2 CD-ROMS). The previous CD, Ray Gun Suitcase was CD Review's 1995 top 15 of the year. http://www.projex.demon.co.uk/pa.html is the URL for the new CD Robert K.L. Wheeler -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Edison Birthplace - www.tomedison.org Pere Ubu - www.dnai.com/~obo/ubu/ubu_garage.html -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- From AKarlok@aol.com Sun, 10 May 1998 13:23:34 EDT Date: Sun, 10 May 1998 13:23:34 EDT From: AKarlok AKarlok@aol.com Subject: what's new? I thought you played left handed (if I got you mixed up with someone else, sorry) But if you are, did you have your ethervox made left handed? I've been looking into get a loan to get one, but I want one made completely left handed, and I'm not sure if they'll make it for me, or if I'll have to send it to someone and have it rebuilt Andy From AKarlok@aol.com Sun, 10 May 1998 13:41:47 EDT Date: Sun, 10 May 1998 13:41:47 EDT From: AKarlok AKarlok@aol.com Subject: Recording the theremin After I posted to Charlie about recording the theremin direct, I started thinking, that's the trouble with responding at 3am., after getting home from a gig, and the more I thought about it, the more sense he made about recording miked. While I still maintain, if you're on a tight budget, going direct has it's advantages, but if you have the time, miking does make more sense. However, I think I'd approach it not as an accostic instrument or vocals, but more like an electric guitar or an amplified harmonica, your not really dealing with an accostic instrument, your still working with electronics. Anyway the wheathers crummy to day around New England, so, I think I'm going to spend the day with my 8-track and try recording on combinations of ways with the theremin. I'll let you know if I find anything interresting. Also' I'll be takingthe theremin into a "real' studio by the end of the month, and I"ll insist on using my amp, and miking it, while also running a direct line and see what's what Happy Mothers' day to any theremin playin' moms out there. Andy From royber@total.net Sun, 10 May 1998 06:11:58 -0500 Date: Sun, 10 May 1998 06:11:58 -0500 From: Bernard Roy royber@total.net Subject: recording the theremin Charlie Lester wrote: >For the recording sessions I've worked on (3), I've urged them to treat >the theremin as a vocalist or acoustic instrument and MIKE it. I am very >leery of direct feed because you don't have any real control over the >sound, or know what it ~really~ sounds like because you can't hear it >until after the fact. Even with headphones from the mixer you're not >getting an accurate read on the tone quality. > In most recording sessions the producer & or engineer don't want YOU to have any control over the sound. THEY want to control it. I've played a lot of sessions and none of them wanted the Clara Rockmore sound - none of them knew who Clara Rockmore is! I end up playing directly into the console and performing in the control room (rather than on the nether side of the glass - like Alice). When playing the pedal steel I INSIST on playing through an amp, but the pedal steel, like the electric guitar, is not an electronic instrument. Hey Charlie, was the composer on the Discovery Channel a guy called Jack Lenz, by any chance? He's an old buddy of mine and I see his name on all sorts of things on that particular channel. He's very tall and thin and somehow DIFFERENT - eyes that look right straight through you and on into eternity (he is a genuinely committed and devout Bahai, but you'd never know it 'cause he never talks about it). From royber@total.net Sun, 10 May 1998 19:05:06 -0500 Date: Sun, 10 May 1998 19:05:06 -0500 From: Bernard Roy royber@total.net Subject: what's new? Groggy wrote: >I'm a midi bone-head!!!! So far, I've just been using the beautiful sounds I >get without midi but I'm eager to try midi. I tried to hook it up with a >keyboard but the pitch bend on the theremin would only do one or two notes. >I'm not sure how to get it to interpret the complete range of the keyboard. >I've controlled tempos of beats before with the theremin but by accident!!! >Eventually I'll get my **** together and learn how to do that stuff!! In order to get the MIDI module (or MIDI keyboard) you are controlling with the Ethervox to pitchbend properly, you have to control the parameters of the module's sound. Somewhere in the depths of its little electronic brain there is a pitchbend range control which has to be opened up to its MAX. Often the factory setting only gives you a bend possibility of two or three notes (sometimes that's as far as it's possible to go). No module I've fiddled with so far has a control possibility as big as the Ethervox's own nine octaves. Only a MIDI theremin or a MIDI ondes Martenot (the latter does not exist) would be able to control such a range with any degree of accuracy. How about the scale & arpeggio functions - have you used them? I find them to be really FANTASTIC effects, but have not yet really had a chance to see if it's possible to develop sufficient technique to actually "play" these sounds with precision and accuracy. Even if it were possible, what advantage would it have over the keyboard? This is a problem that old Dr. Maurice Martenot addressed back in 1928 when he realized that the heterodyne principle had to have the option of being linked (or not) to a keyboard. By the way, the 1998 FESTIVAL DES ONDES MARTENOT is going to be held here in Montreal in the fall. It's the celebration of the 70th anniversary of the birth of the instrument and there will be concerts and seminars etc. during the month of October. Anyone planning to attend better brush up on their French - I'm not sure just how much of the event will be happening in English. I've been invited to do something for the festival, but they're a little afraid of me. The moment people see and hear the theremin, they are no longer interested AT ALL in the ondes Martenot. The Ethervox will blow all of the ondistes right out of the water. The theremin can upstage anybody or anything. YAHOOOOOOO! If I were running the Ondes Martenot Festival I wouldn't want a theremin within a million miles of the place. It's like inviting someone to come and serve Champagne at your apple juice fair. From wreno@pilot.infi.net Sun, 10 May 1998 20:04:09 -0400 Date: Sun, 10 May 1998 20:04:09 -0400 From: drew reno wreno@pilot.infi.net Subject: TUBE KING? How about TUBE STEAK?? Has anyone attempted to have sex using a theremin? From jmsnyder@earthlink.net Sun, 10 May 1998 20:29:32 -0400 Date: Sun, 10 May 1998 20:29:32 -0400 From: John Snyder jmsnyder@earthlink.net Subject: Recording the theremin When I did studio recording for the proposed Vlasic pickles commercial, the studio engineer had me play through a Fender guitar (tube) amp which he miked, and also took my signal directly to the board. He was impressed, by the way, with the low end sound of the Etherwave...I also love to play in the very low frequencies, although I cannot play like a bass player, or whatever. Regards, John Snyder At 01:43 PM 5/10/98 -0400, you wrote: > After I posted to Charlie about recording the theremin direct, I started >thinking, that's the trouble with responding at 3am., after getting home from >a gig, and the more I thought about it, the more sense he made about recording >miked. > While I still maintain, if you're on a tight budget, going direct has it's >advantages, but if you have the time, miking does make more sense. However, I >think I'd approach it not as an accostic instrument or vocals, but more like >an electric guitar or an amplified harmonica, your not really dealing with an >accostic instrument, your still working with electronics. > Anyway the wheathers crummy to day around New England, so, I think I'm >going to spend the day with my 8-track and try recording on combinations of >ways with the theremin. I'll let you know if I find anything interresting. >Also' I'll be takingthe theremin into a "real' studio by the end of the month, >and I"ll insist on using my amp, and miking it, while also running a direct >line and see what's what > Happy Mothers' day to any theremin playin' moms out there. > > Andy > > From rewelch@earthlink.net Sun, 10 May 1998 22:47:47 -0400 Date: Sun, 10 May 1998 22:47:47 -0400 From: Reid Welch rewelch@earthlink.net Subject: Clara Rockmore Dies Clara Rockmore, beloved friend, mentor, consummate musician and virtuoso of the theremin, died peacefully at 9:30 Sunday morning at her home. Her family was at her bedside during the last few days of her life, and just two days earlier she learned of the birth of her first great grandniece. Clara had previously said "If it's a boy he'll be another Jascha Heifetz. If it's a girl, she'll be a Clara Rockmore". So we shall hope. An obituary will appear in Tuesday's "New York Times". Funeral services will be held the following day. Clara's death signals the end of a chapter in the extraordinary story of Leon Theremin and his remarkable instrument. Her life and artistry will serve as inspiration to carry on the truly fine theremin tradition that she established. It is the end of a chapter in a book that has just begun. -Reid Welch From DavesTvox@webtv.net Sun, 10 May 1998 22:56:33 -0500 Date: Sun, 10 May 1998 22:56:33 -0500 From: David Miller DavesTvox@webtv.net Subject: I'm so sorry Reid I'm so sorry to hear of the news of Clara's passing. She may not be with us here, physically, but she will always remain in our hearts. Your news has saddened me. I just stopped everything and could not reply immediately even though I was online at the time. I just stared at the screen, not knowing what to do. What I did do was mention it on my website. I felt it important to let others know. As you know, Mrs. Rockmore touched my life more than I can truly express. The only ability I have on the theremin comes straight from her. Her sharing of her technique in her book, and her words of wisdom she shared with you on tape. These are things I can carry with me for the rest of my life. I have said it before that the real highlight of the Theremin Festival was hearing her voice. Tears really did form in my eyes as they do now as I recall her voice. Wow, what a special time. One I will always remember. Her words are imprinted in my memory- "Hello.......This is Clara Rockmore..." Oh, Ried, that meant so much to hear her voice! I never got a chance to talk to Clara personally (I did send a card), but I have always felt I knew her anyway. That through her words on the movie, in her book, and on your tape it allowed me to know her more deeply than a phone call would ever allow. Please give my sincere condolences to her family if you are in contact with them. Your friend, David PS. I'll cc this to Levnet, as it may give others a sense of how much Clara meant to me, even though I am not too good at expressing it fully, at least not right now. Take care. From sawman@cyberramp.net Sun, 10 May 1998 23:32:14 -0500 Date: Sun, 10 May 1998 23:32:14 -0500 From: Robert F sawman@cyberramp.net Subject: Clara Rockmore Dies Hi, Reid: Thanks for the latebreaking info. All of us in the theremin community feel saddened and empty this evening at this great loss. I, too, have announced it on my webpage and in the Internet newsgroups. I'm sure you will keep us posted as to how funeral plans, etc. develop. I'm so sorry that you lost this wonderful and unique friend. Hopefully the memories you have of your associations with her will thrill you and encourage you for a lifetime. Robert F From tpolk@prismnet.com Mon, 11 May 1998 00:10:10 -0500 Date: Mon, 11 May 1998 00:10:10 -0500 From: Tom Polk tpolk@prismnet.com Subject: Clara Rockmore Dies My heartfelt condolences to those of you who knew and appreciate Clara Rockmore. From AKarlok@aol.com Mon, 11 May 1998 01:58:02 EDT Date: Mon, 11 May 1998 01:58:02 EDT From: AKarlok AKarlok@aol.com Subject: TUBE KING? How about TUBE STEAK?? who needs sex when they have a theremin,,,,,saaaay, wait a second, er, forget what I said Andy From clester@137.com Sun, 10 May 1998 23:18:12 -0700 Date: Sun, 10 May 1998 23:18:12 -0700 From: Charlie Lester clester@137.com Subject: Ne pukha, ni pera While happy for Clara Rockmore that she is no longer suffering, I was of course very saddened to hear of her death. I had the immeasurable privilege of meeting Mrs. Rockmore via telephone when I first found the theremin ... or - rather - when it found me, as it were. She was very kind to me right from the start, and enthusiastically encouraged my interest in the theremin. And as we concluded that first phone call she expressed her feeling of friendship to me, saying she was happy to hear from me and hoped I would stay in touch. And, indeed, we had quite a few enjoyable phone visits over the past three years. Every time we talked, she emphasized how truly happy she was that the theremin was enjoying such a tremendous revival; and said how thrilled she was to see that its legacy would live on beyond her and Leon Theremin. One time, she invited me to come for "tea and chit-chat" and an informal theremin lesson. She told me, very generously, "It is people like you whom I would be happy to spend time with, to teach, to pass on the tradition of MUSICAL theremin playing." Unfortunately, she became ill before I was ever able to go to New York to act on her invitation. However, her unhesitating willingness to extend that kind invitation -- and to want to pass on her gifts to someone who was a total stranger to her -- was very touching; and demonstrated the true spirit of her generosity. I shall always appreciate a very special little gift she shared with me when I called one day in the winter of 1996 about an upcoming theremin performance. I expressed a variety of anxieties about certain loose ends regarding the program. Mrs. Rockmore patiently endured my fulminating, then she said she wanted to tell me something very important. "Please listen carefully," she admonished. She told me that when she and Nadia Reisenberg [her sister] played together, they would always take a moment before "going on" to hold hands and wish each other a special Russian good-luck blessing: "Ne pukha, ni pera." (Very idiomatically translated: "Break a leg.") Mrs. Rockmore wished that special blessing to me and said, "Every time you have a performance, say to yourself, 'Ne pukha, ni pera' and ~all~ will be well!" That is the sort of person I came to know, in so brief a period of time, as Clara Rockmore. The last time I spoke with her was on her 86th birthday, this past March. On that day she was animated and alert and told me she was greatly enjoying the many calls, cards, visits, flowers and expressions of love and admiration she was receiving. I am glad that my memories of Clara culminate with her sounding so very happy and enjoying her birthday. "Ne pukha, ni pera," Clara. ~ ~~~ ~~~~~~~ Charlie Lester From AKarlok@aol.com Mon, 11 May 1998 02:47:48 EDT Date: Mon, 11 May 1998 02:47:48 EDT From: AKarlok AKarlok@aol.com Subject: I'm sorry I, along with everyone else out there was sadden by Clara Rockmores' death, I just found out when I looged on before I went to bed, a sad way to end the day Does anyone know if the funeral is going to be puplic one? I'm not that far from New York, and would like to pay my respects Andy From pluto@4link.net Mon, 11 May 1998 02:38:21 -0700 Date: Mon, 11 May 1998 02:38:21 -0700 From: Ross Marshall pluto@4link.net Subject: Clara Rockmore Dies Reid Welch wrote: > > Clara Rockmore, beloved friend, mentor, consummate musician and virtuoso of > the theremin, died peacefully at 9:30 Sunday morning at her home. > I have just opened this email levnet message. It's 2:30 am and I really will not feel the effects of the reality of this until I wake up tomorrow. This will be one of the greatest losses in my life. I had a real bad feeling I would never get to meet her. reid Welch causally mentioned I might not make it. Clara told me over the phone last few calls, about me coming out to see her. She said wait a few weeks, "but don't wait too long, I might not be here long. She was right. So, again, I am a day late and a dollar short--- or I would have all ready flown out to N.Y. and fulfilled my dream. Well, now I can throw away her address and phone nember. My she rest in peace. Now it's up to players like us to continue on with what she taught us. In Loving Memory; Always with Clara; ... Ross Marshall.................................................. From pluto@4link.net Mon, 11 May 1998 02:51:54 -0700 Date: Mon, 11 May 1998 02:51:54 -0700 From: Ross Marshall pluto@4link.net Subject: Ne pukha, ni pera Charlie Lester wrote: >......etc, etc, Charlie's letter is like what I wanted to say. You're a great writer. It's late and I am burnt-out and tired. Brain not working too well. My difference is that I have recently been talking to Clara over the phone. About 1 1/2 weeks ago. She talked very much about playing and also about simple things; she was very poetic in a way; didn't speak alot like a strict musician, but more like a poet. She spoke as if with much hope in us younger players. She seemed to love the idea of people coming to see her, but seemed to be somewhat reluctant to, because of health. Yet, reluctant not to allow a visitor. I told her, if I can crap up the funds to consider me seeing her in a month or two. She said yes. But don't wait too long. Well, I missed out. But, I can say, I got a lot of her in me from my phone calls to her. I have spoke to her about 4 times on the phone; four calls I will never forget. I loved you and your playing, Clara; Leon and you brought something to me I will carry with me all my days. The Theremin... Always;... Ross From pluto@4link.net Mon, 11 May 1998 02:53:53 -0700 Date: Mon, 11 May 1998 02:53:53 -0700 From: Ross Marshall pluto@4link.net Subject: In memory of Clara: It's me again. I thimnk I will designate all day Monday to playing the theremin, in memory of Clara. One day for her alone. Anyone else can pick a day and do the same. My last little tribute to her. ROSS From dball@esper.com Mon, 11 May 1998 06:23:14 -0400 Date: Mon, 11 May 1998 06:23:14 -0400 From: David Ball dball@esper.com Subject: I'm sorry: Forwarded Message Here's a bounced message from Andy: >>From AKarlok@aol.com Mon May 11 02:47:08 1998 >Received: from imo24.mx.aol.com (imo24.mx.aol.com [198.81.17.68]) > by clarion.korrnet.org (8.8.8/8.8.8) with ESMTP id CAA12674 > for ; Mon, 11 May 1998 02:47:08 -0400 (EDT) >Received: from AKarlok@aol.com > by imo24.mx.aol.com (IMOv14.1) id KXJUa02742 > for ; Mon, 11 May 1998 02:47:48 -0400 (EDT) >From: AKarlok >Message-ID: <32557e8.35569f15@aol.com> >Date: Mon, 11 May 1998 02:47:48 EDT >To: levnet@korrnet.org >Mime-Version: 1.0 >Subject: I'm sorry >Content-type: text/plain; charset=US-ASCII >Content-transfer-encoding: 7bit >X-Mailer: AOL 3.0 for Mac sub 84 > > I, along with everyone else out there was sadden by Clara Rockmores' death, >I just found out when I looged on before I went to bed, a sad way to end the >day > Does anyone know if the funeral is going to be puplic one? I'm not >that far from New York, and would like to pay my respects > > Andy From rewelch@earthlink.net Mon, 11 May 1998 12:00:50 -0400 Date: Mon, 11 May 1998 12:00:50 -0400 From: Reid Welch rewelch@earthlink.net Subject: Clara's funeral service Clara's funeral will be at Wednesday noon at Riverside Memorial Chapel on Amsterdam Avenue in Manhattan. Her family warmly invites the public. However, the burial following the service is for family only. Sending flowers is OK. Condolences to the Sherman family may always be sent to Clara's home: 157 W 57th Street apt 3i New York, NY 10019 From rewelch@earthlink.net Mon, 11 May 1998 12:34:00 -0400 Date: Mon, 11 May 1998 12:34:00 -0400 From: Reid Welch rewelch@earthlink.net Subject: adress correction RE: Clara's funeral service Sorry... mail to _350_ W 57th Av. apt. 3i >-----Original Message----- >From: levnet@korrnet.org [mailto:levnet@korrnet.org]On Behalf Of Reid >Welch >Sent: Monday, May 11, 1998 12:06 PM >To: Multiple recipients of list >Subject: Clara's funeral service > > > >Clara's funeral will be at Wednesday noon at Riverside Memorial Chapel on >Amsterdam Avenue in Manhattan. Her family warmly invites the public. >However, the burial following the service is for family only. Sending >flowers is OK. > >Condolences to the Sherman family may always be sent to Clara's home: > >157 W 57th Street apt 3i >New York, NY 10019 > > From shartma2@ix18.ix.netcom.com Mon, 11 May 1998 17:02:53 -0400 Date: Mon, 11 May 1998 17:02:53 -0400 From: Hartmann shartma2@ix18.ix.netcom.com Subject: No subject remove levnet From Planetgrog@aol.com Mon, 11 May 1998 17:39:52 EDT Date: Mon, 11 May 1998 17:39:52 EDT From: Planetgrog Planetgrog@aol.com Subject: what's new? In a message dated 5/10/98 5:25:42 PM, you wrote: <> They'll make it lefty for you, it shoul be no problem!! I think they assemble them as they are ordered. Pamelia From sebadork@rocketmail.com Mon, 11 May 1998 15:26:26 -0700 (PDT) Date: Mon, 11 May 1998 15:26:26 -0700 (PDT) From: Drew sebadork@rocketmail.com Subject: Hello everyone! Hi everyone! I am a high school senior, and i live in Virginia Beach, Va. I do not play Theremin, but i plan to pretty soon- I'm going to buy one (or should i build one?) in the NEAR future. I became very interested in Theremins about a year ago, when i read that Jon Spencer (Jon Spencer Blues Explosion) used a theremin in his band, and was angry about not being cast as Leon Theremin in a movie or something like that. My immediate reaction was, "What the heck is a theremin?" and, after much research, i figured it out. I'm also interested in Electronic Music in general (moogs, arps, all of those other really cool inventions) and i've played Guitar for the past five years. I also have alot of experience with guitar effects, and i think the idea of using Digital Delays and other things like that on the theremin. I've also played French Horn and Trumpet for the last 6 years, so i know alot of music theory, etc. Well, anyways, i also have a few questions-- 1. I've noticed that the band Portishead used a theremin on their first album "Dummy" (i believe it was on the song "Mysterons") -- however , on the new album, one song has something that sounds like a theremin, yet no theremin is mentioned in the credits-- does anyone know what's up? 2. What type of theremin should i buy? Remember, i'm an 18 year old, just-out-of-high-school student with a semi limited budget (in other words, i won't be shelling out $5,000 for a super-midi theremin. the $300 etherwave is looking pretty nice right about now, and it also comes with some instructional stuff) 3. My friend (Drewreno on Levnet) and I will be in New York City June 19-21, and i was wondering if there are any theremin-related (or anything else even closely related- terpistone, telharmonium, etc. etc. etc. etc. etc!) to do or see, or any theremin-y concerts, recitals, or anything else like that== let me know, please! Thanks a lot! -- andrew horton _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com From DavesTvox@webtv.net Mon, 11 May 1998 18:26:43 -0500 Date: Mon, 11 May 1998 18:26:43 -0500 From: David Miller DavesTvox@webtv.net Subject: Hello everyone! Hi Andrew, Welcome to Levnet. Answer to #2: Buy an Etherwave. The kit is not hard to assemble, the electronics are quite easy to handle and the only difficulty is the wood working of the cabinet. After you are finished, you'll have one nice, tough, reliable, good sounding theremin. Take care, Dave M From flook@globalnet.co.uk Tue, 12 May 1998 01:00:55 GMT Date: Tue, 12 May 1998 01:00:55 GMT From: flook flook@globalnet.co.uk Subject: recording the theremin On Sun, 10 May 1998 19:55:15 -0400 (EDT), you wrote: >In most recording sessions the producer & or engineer don't want YOU to >have any control over the sound. THEY want to control it. I've played a lot >of sessions and none of them wanted the Clara Rockmore sound - none of them >knew who Clara Rockmore is! I end up playing directly into the console and >performing in the control room (rather than on the nether side of the glass >- like Alice). I feel I have to stand up for my profession here. As a recording engineer I get all sorts of sounds to cope with, but generally I try to get whatever noise comes out of whatever the customer is playing. That is what the are used to hearing; that is (in most cases) what they want to achieve. Therefore, unless the sound is totally un-workable I will mike up cabs, pulg in keyboards etc. If the sound they have is really not working, then I wil suggest another way to acheive the same effect - DI'ing, different location etc. IMO, if I get on tape a good represention of their sound it makes things easier at a later stage with less messing around with Fx boxes to try and replicate a sound they get in rehearsal. Neil. ---------------------Neil Amison--------------------- sound engineer, gruftie, part time celt, theremaniac http://www.users.globalnet.co.uk/~flook http://members.tripod.com/~flook/nexus.htm From PhilipMann@aol.com Mon, 11 May 1998 22:26:44 EDT Date: Mon, 11 May 1998 22:26:44 EDT From: PhilipMann PhilipMann@aol.com Subject: adress correction RE: Clara's funeral service My sincere apologies for not communicating with you as promised. When I went to work at the blues bar, I neglected to take the paper with your home number with me. A stupid move on my part. So now, except for my radio show Thursday, I have all the days of the week free. If there is a convenient time for me to call, I will do so. Thank you for keeping us posted on the Rockmore funeral. I look forward to chatting, and possibly meeting. Sink-cerely Yours, Phil Mann From clester@137.com Mon, 11 May 1998 20:06:01 -0700 Date: Mon, 11 May 1998 20:06:01 -0700 From: Charlie Lester clester@137.com Subject: LEVNET digest 307 Ross said, --> I can crap up the funds Ummm ... you might consider putting your money in the BANK [paranoia notwithstanding], instead of putting it --- ~ ~~~ ~~~~~~~ Charlie From DavesTvox@webtv.net Mon, 11 May 1998 22:44:02 -0500 Date: Mon, 11 May 1998 22:44:02 -0500 From: David Miller DavesTvox@webtv.net Subject: In Clara's Words I think the following words taken from Clara's book are quite prophetic: "Now, take it further, with all my blessings, and may the theremin remain yet another voice in the world of music." - Clara Rockmore, from her playing techniques book, "The Art of the Theremin". From joan@mediaone.net Mon, 11 May 1998 23:46:37 +0000 Date: Mon, 11 May 1998 23:46:37 +0000 From: joan joan@mediaone.net Subject: Clara's passing The news of Clara's passing is very sad and my condolences go to those who knew her and those that were inspired by her. I'm glad to hear her family was by her side and that the correspondence she received of late made her happy. I know the thoughts of many in this group and elsewhere around the world are expressing warm thoughts toward the ether. Although her physical being has gone, the muse of Clara will live forever in the hearts and souls of those she inspired and those she has yet to inspire. Peace to you all, Joan From clester@137.com Mon, 11 May 1998 21:27:33 -0700 Date: Mon, 11 May 1998 21:27:33 -0700 From: Charlie Lester clester@137.com Subject: More on recording the theremin The recent remarks from Neil Amison, a/k/a "flook" , completely represent the same demeanor and attitude of the music director/composer for the Discovery Channel gig I just did. Not to say it will ALWAYS be that way, but indeed it has been for me every time thus far. Sound engineers, and musicians and composers, always seem so amazed and awed by the theremin, and somewhat at a loss since it's by and large such a new animal to them, that I get the impression they'd record it ~underwater~ if the thereminist told them it must be done that way. For Discovery Channel, we met at my place first to show him my various theremins, play for him, and talk about the session. When we got to discussing output I told him I could provide a direct feed to his mixer but suggested he mike it, because I felt the sound would be warmer and more natural that way; and that I would be able to control the instrument better under those conditions. He was perfectly fine with that and said, "Whatever works for you and makes you comfortable." It was clear that he would have been equally as willing to direct-input the theremin, or to mike it, as my suggestion would have been. He actually went out and got a Newman U47 mike [beeeg bux] just to record the theremin, which does go a small way in showing how interested he was in getting really good sound from it. ~ ~~~ ~~~~~~~ Charlie Lester From Planetgrog@aol.com Tue, 12 May 1998 03:01:22 EDT Date: Tue, 12 May 1998 03:01:22 EDT From: Planetgrog Planetgrog@aol.com Subject: More on recording the theremin In a message dated 5/12/98 4:32:33 AM, you wrote: <> You must mean the Noiman (I think that's how it's spelled). That's what we use in the studio here and it's great for the theremin. we mike the room and the amp. From Planetgrog@aol.com Tue, 12 May 1998 03:03:38 EDT Date: Tue, 12 May 1998 03:03:38 EDT From: Planetgrog Planetgrog@aol.com Subject: Hello everyone! Welcome, Andrew!!! Go for the etherwave!! Great buy, great instrument!! Pamelia From rewelch@earthlink.net Tue, 12 May 1998 03:17:41 -0400 Date: Tue, 12 May 1998 03:17:41 -0400 From: Reid Welch rewelch@earthlink.net Subject: More on recording the theremin Pamelia said: >You must mean the Noiman (I think that's how it's spelled). "Neuman", i think. Or close to it. From sawman@cyberramp.net Tue, 12 May 1998 03:17:56 -0500 Date: Tue, 12 May 1998 03:17:56 -0500 From: Robert F sawman@cyberramp.net Subject: More on recording the theremin At 03:22 AM 5/12/98 -0400, Reid wrote: >Pamelia said: > > >You must mean the Noiman (I think that's how it's spelled). > >"Neuman", i think. Or close to it. > Exactly, Reid! It is Neuman (but pronounced "Noiman" thanks to the Teutonic heritage). We've used the Neuman U87A when recording saw sessions. And it is an incredibly good microphone! It sounds great. Very expensive, though, which likely restricts its use to studio work. The Neuman U47 that Charlie referred to is a TUBE microphone, while the U87A that we used is solid-state... but then again so is the saw :) I suppose if I had the luxury of an electric saw, I could try direct input instead of mic'ing.... But I've heard that they eat up too many cello bows, and are hell to hold between your legs...ouch! Robert F From pluto@4link.net Tue, 12 May 1998 02:17:33 -0700 Date: Tue, 12 May 1998 02:17:33 -0700 From: Ross Marshall pluto@4link.net Subject: crap v. scrape Charlie Lester wrote: > > Ross said, > > --> I can crap up the funds > > Ummm ... you might consider putting your money in the BANK [paranoia > notwithstanding], instead of putting it --- > Charlie; That's "scrape" up the Noney!,... Uh?... Money! From dball@esper.com Tue, 12 May 1998 07:49:37 -0400 Date: Tue, 12 May 1998 07:49:37 -0400 From: David Ball dball@esper.com Subject: Cynical Commentary The recent passing of Clara Rockmore has gone without so much as a mention in the news media, at least in Tennessee. To me, this is a very sad observation, and one that undoubtedly highlights the frustrations that Clara must have felt over her career. Clara's quest to elevate the theremin to the same stature in "serious" music circles as the violin or piano was not realized during her lifetime, despite her virtuosity and persistance. And now, at a time when this particular instrument's greatest virtuoso has died, it is a fact, like the instrument itself, goes unknown but to a few. I, for one, am proud to be among that few, but I am also reminded of how few we really are. It is now our turn to carry the baton. Perhaps we, building on the foundation that Clara and other early pioneers of the theremin have built, can continue Clara's quest towards "mainstreaming" and "legitimizing" the theremin. Or, perhaps the theremin even seventy odd years since its invention remains too novel to achieve widespread recognition as anything but a novelty. Still, considering the magnitude of change that the world has experienced since the twenties, to think that something--ANYTHING--that was amazing and novel "way back when" remains just as amazing and novel today is amazing in itself. Maybe the perpetuation of the delights of a more innocent time (the twenties??) is a bigger accomplishment than acceptance into the mainstream could ever be. Dave Ball From comic@bigfoot.com Tue, 12 May 1998 08:27:26 -0500 Date: Tue, 12 May 1998 08:27:26 -0500 From: Baldy comic@bigfoot.com Subject: More on recording the theremin That would be Neuman ---------- > From: Planetgrog > To: Multiple recipients of list > Subject: Re: More on recording the theremin > Date: Tuesday, May 12, 1998 2:02 AM > > > In a message dated 5/12/98 4:32:33 AM, you wrote: > > < the theremin, which does go a small way in showing how interested he was > in getting really good sound from it. > >> > > You must mean the Noiman (I think that's how it's spelled). That's what we > use in the studio here and it's great for the theremin. we mike the room and > the amp. > From rewelch@earthlink.net Tue, 12 May 1998 09:33:01 -0400 Date: Tue, 12 May 1998 09:33:01 -0400 From: Reid Welch rewelch@earthlink.net Subject: Cynical Commentary Hi Dave Because Clara died on Sunday, the earliest day for which a NY TIMES obituary could be inserted was for today. Also, funeral arrangements had to be made. I imagine that the wire services will pick up on the Times obit. Local papers may carry notice shortly. >-----Original Message----- >From: levnet@korrnet.org [mailto:levnet@korrnet.org]On Behalf Of David >Ball >Sent: Tuesday, May 12, 1998 8:40 AM >To: Multiple recipients of list >Subject: Cynical Commentary > > >The recent passing of Clara Rockmore has gone without so much as >a mention >in the news media, at least in Tennessee. To me, this is a very sad >observation, and one that undoubtedly highlights the >frustrations that Clara >must have felt over her career. > >Clara's quest to elevate the theremin to the same stature in >"serious" music >circles as the violin or piano was not realized during her >lifetime, despite >her virtuosity and persistance. And now, at a time when this particular >instrument's greatest virtuoso has died, it is a fact, like the >instrument >itself, goes unknown but to a few. I, for one, am proud to be among that >few, but I am also reminded of how few we really are. > >It is now our turn to carry the baton. Perhaps we, building on the >foundation that Clara and other early pioneers of the theremin >have built, >can continue Clara's quest towards "mainstreaming" and "legitimizing" the >theremin. Or, perhaps the theremin even seventy odd years since its >invention remains too novel to achieve widespread recognition as anything >but a novelty. Still, considering the magnitude of change that the world >has experienced since the twenties, to think that >something--ANYTHING--that >was amazing and novel "way back when" remains just as amazing and novel >today is amazing in itself. Maybe the perpetuation of the delights of a >more innocent time (the twenties??) is a bigger accomplishment than >acceptance into the mainstream could ever be. > >Dave Ball > > From dball@esper.com Tue, 12 May 1998 10:42:35 -0400 Date: Tue, 12 May 1998 10:42:35 -0400 From: David Ball dball@esper.com Subject: NY Times was Re: Cynical Commentary Reid wrote: >Because Clara died on Sunday, the earliest day for which a NY TIMES obituary >could be inserted was for today. Also, funeral arrangements had to be made. >I imagine that the wire services will pick up on the Times obit. Local >papers may carry notice shortly. You're right--it is in today's NY times. Now we'll see if it makes Knoxville's papers... Dave Ball From rewelch@earthlink.net Tue, 12 May 1998 10:59:43 -0400 Date: Tue, 12 May 1998 10:59:43 -0400 From: Reid Welch rewelch@earthlink.net Subject: Regarding the NY Times obituary... I just returned home with four copies of today's "New York Times". I have a spare or two. Page A20 carries Clara's obituary by Allan Kozin and it is accompanied by a 1989 photo of Clara. I can quote only a couple of lines here: "Describing Ms. Rockmore's performances, Steve Martin, the director of the theremin film, said 'Clara is to the theremin what Andres Segovia and Jimi Hendrix combined are to the guitar". "She was also the focus of a video documentary, 'Clara Rockmore, the Greatest Theremin Virtuosa' , released last month". (This video is available from Big Briar) I would like to note for the record: -Clara's age is given as 88, although her 87th birthday occurred last March. To my best knowledge Clara was born in March 1911. -Mr. Kozin said "In the mid-1920's, Ms. Rockmore moved to New York..." In fact, the family arrived in Gardner, Massachusetts via Ellis Island in late 1921. They settled in New York City by the first month of 1922. I verified those dates during my last visit with Clara. The dates correspond with testimony by oldest sister Newta in a delightful book by Alex and Bob Sherman. That book is entitled "Nadia Reisenberg: A Musician's Scrapbook". It's full of pictures and text in chronicle of the remarkable sisters Reisenberg. Reid From TheeXVirus@aol.com Tue, 12 May 1998 11:21:51 EDT Date: Tue, 12 May 1998 11:21:51 EDT From: TheeXVirus TheeXVirus@aol.com Subject: the NY Times obituary... Clara Rockmore, 88, Virtuosa of an Unusual Instrument By ALLAN KOZINN NEW YORK -- Clara Rockmore, a musician who was trained as a violinist but became famous principally as a soloist on the theremin, an early electronic instrument, died Sunday at her home in Manhattan. She was 88. The theremin, invented in 1920 by Leon Theremin, produces a pure, eerie, sliding tone that has been compared to a disembodied, wordless soprano voice or an enchanted cello. In recent years, thanks in part to the 1994 film "Theremin: An Electronic Odyssey," the instrument has developed a cult following, as has Ms. Rockmore, who appeared in the movie. She was also the focus of a video documentary, "Clara Rockmore, the Greatest Theremin Virtuosa," released last month. Describing Ms. Rockmore's performances, Steve Martin, the director of the theremin film, said, "Clara is to the theremin what Andres Segovia and Jimi Hendrix combined are to the guitar." Ms. Rockmore was born Clara Reisenberg in Vilna (now Vilnius) in Lithuania. She showed considerable talent as a violinist before she was 4, and in 1915 she became the youngest musician ever admitted to the St. Petersburg Conservatory. Her principal teacher there was Leopold Auer, whose other students had included Mischa Elman and Jascha Heifetz. In the mid-1920s, Ms. Rockmore moved to New York, where she resumed her studies with Auer, who had also immigrated. After a few years, however, she began to have muscular and joint problems that curtailed her career as a violinist. At around the same time, she met Theremin and decided to study his electronic instrument. She became his student and close friend; for her 18th birthday, he made her a cake that lit up and revolved whenever anyone approached. Ms. Rockmore's influence on the instrument itself included suggesting structural changes to improve its articulation. Ms. Rockmore gave one of the first theremin concerts in the United States, in 1934. Composer Anis Fuleihan wrote a concerto for her, and she performed as a soloist with several orchestras, including the New York Philharmonic, the Philadelphia Orchestra and the Toronto Symphony. Ms. Rockmore is survived by a sister, Anna Sherman of Manhattan. Tuesday, May 12, 1998 Copyright 1998 The New York Times From pluto@4link.net Tue, 12 May 1998 09:17:47 -0700 Date: Tue, 12 May 1998 09:17:47 -0700 From: Ross Marshall pluto@4link.net Subject: Cynical Commentary I can't tell who wrote this; "Or, perhaps the theremin even seventy odd years since its invention remains too novel to achieve widespread recognition as anything but a novelty." I think a lot of people think this. I myself have sometimes told myself this. But, we have to look, not at the word and meaning, but the consequential results of thinking this. Yes, the theremin will stay a novelty. But, I say, maybe we are forgetting something. The theremin wasn't really developed for the mass public, like other instruments have been. It's only resently that we have 5-6-10 small manufacturers of theremins. At one time, it was either Moog, or a Popular Science build it yourself kit. So, maybe the theremin has more potential than everyother instrument, in that WE are fix'en to push it into the public. Maybe it has plenty and we just are not developing it. ROSS From rewelch@earthlink.net Tue, 12 May 1998 11:54:46 -0400 Date: Tue, 12 May 1998 11:54:46 -0400 From: Reid Welch rewelch@earthlink.net Subject: the NY Times obituary... >-----Original Message----- >From: levnet@korrnet.org [mailto:levnet@korrnet.org]On Behalf Of >TheeXVirus >Sent: Tuesday, May 12, 1998 11:23 AM >To: Multiple recipients of list >Subject: the NY Times obituary... > > >Clara Rockmore, 88, Virtuosa of an Unusual Instrument > >By ALLAN KOZINN That's correct spelling of Mr. Kozinn's name; I dropped an "N". Thanks for posting the entire obit. -I was worried about possibly infringing copyright. Can someone refresh me on the copyright topic? Is an obituary such as Mr. Kozinn's copyrighted in regard to our meager usage? If so, how about the smaller death notice which is there with the regular listings? Reid From DavesTvox@webtv.net Tue, 12 May 1998 11:27:26 -0500 Date: Tue, 12 May 1998 11:27:26 -0500 From: David Miller DavesTvox@webtv.net Subject: the NY Times obituary... Oh gosh, Reid. I think you may have just launched the great copyright debate "revisted". May be time for me to get on the digest version. :-) Dave M From AKarlok@aol.com Tue, 12 May 1998 12:58:39 EDT Date: Tue, 12 May 1998 12:58:39 EDT From: AKarlok AKarlok@aol.com Subject: Cynical Commentary It's just Tenn. I live an hour outside of Mannhatten, and I still haven't seen or heard anything,at least on T.V.news or radio Andy From huibert@xs4all.nl Tue, 12 May 1998 20:56:27 +0100 Date: Tue, 12 May 1998 20:56:27 +0100 From: Huibert Boon huibert@xs4all.nl Subject: More on recording the theremin (and saw) Robert F wrote: > > At 03:22 AM 5/12/98 -0400, Reid wrote: > >Pamelia said: > > > > >You must mean the Noiman (I think that's how it's spelled). > > > >"Neuman", i think. Or close to it. > > > > Exactly, Reid! > It is Neuman (but pronounced "Noiman" thanks to the Teutonic heritage). > ALMOST EXACTLY! It's 'NEUMANN' Hello everybody, Nice to join this mailing list. Hope to encounter some interesting discussions and to meet some nice people. Now on the subject of recording: For saw I prefer Schoeps (2x) over Neumann U87(A) because they are more 'clear' (a little bit less 'round'). Neumann is perfect for voice and brass just because of the typical 'Neumann-colouring'. The theremin I record 'double': I split the signal, feed one line to the speaker-cabinet which I mike with an AKG 414 and the other signal goes direct into the mixing-console. In that way you can create a wide range of sounds in the final mix. (Just have to be aware for phase-errors...) Greetings, Huibert Boon From neco@clu.it Tue, 12 May 1998 21:18:21 +0200 Date: Tue, 12 May 1998 21:18:21 +0200 From: Giorgio Necordi neco@clu.it Subject: Hello everyone! Hello Drew, Welcome to Levnet. Portishead don't use theremin! On "Mysterons" they use a syntesizer Roland SH-101, on the new album ( I think you refer to the song "Humming" ) they use a Minimoog. From neco@clu.it Tue, 12 May 1998 21:11:59 +0200 Date: Tue, 12 May 1998 21:11:59 +0200 From: Giorgio Necordi neco@clu.it Subject: Clara Rockmore Dies The dead of Clara Rockmore leave me without words to say. I don't know her artistry very well, but I felt her presence as a myth as well as Leo Theremin. Reid, can you give my condolences to her family for me ? Addio Clara. From jmsnyder@earthlink.net Tue, 12 May 1998 15:23:31 -0400 Date: Tue, 12 May 1998 15:23:31 -0400 From: John Snyder jmsnyder@earthlink.net Subject: Clara Rockmore & The Media Greetings, Folks! In addition to the NY Times obit today, I was told that yesterday evening MTV covered the story in their news coverage, actually showing some footage of her playing. As I was retiring yesterday evening I turned on FM radio to find something to put me to sleep when I happened upon WNYC public radio here in NYC just in time to hear the end of an anouncement sounding like an early radio program referring to Clara Rockmore to play theremin in the Fuleihan concerto and what followed was a very scratchy radio transcription of a February 1945 radio broadcast! When it was over (and what a mind-blowing performance that was) the WNYC announcer had some very complimentary comments regarding Clara to the effect that there would never be another theremin player quite like her. This recording seemed so appropriate to show the listening public Ms. Rockmore at perhaps the peak of her form. Best Regards, John snyder From dball@esper.com Tue, 12 May 1998 16:12:39 -0400 Date: Tue, 12 May 1998 16:12:39 -0400 From: David Ball dball@esper.com Subject: Clara Rockmore & The Media Virtual grass-roots media, but media just the same: Another list server I'm on, catering to tube audio folk, had a post regarding Clara's death (and not from a levnet member!) a little while ago. Good to know that the audio community notices... Dave Ball From sawman@cyberramp.net Tue, 12 May 1998 15:32:57 -0500 Date: Tue, 12 May 1998 15:32:57 -0500 From: Robert F sawman@cyberramp.net Subject: the NY Times obituary... At 12:23 PM 5/12/98 -0400, Reid wrote: >-I was worried about possibly infringing copyright. Can someone refresh me >on the copyright topic? Is an obituary such as Mr. Kozinn's copyrighted in >regard to our meager usage? If so, how about the smaller death notice which >is there with the regular listings? > >Reid > I would think that technically it is copyright the NY Times since a staff writer is named (as opposed to a family-written obituary.) But I can't imagine anyone complaining that an obituary was circulated to others, but with today's litigious society, who knows??. If reprinted, it would at least be appropriate to credit the NY Times of course. Asking for permission could take days to weeks. However, Reid, I thought the NY Times was poorly written and understated, and that you can do a much better and more thorough job than that NY Times attempt! Perhaps they will do a feature story on her later in the week?? It would have been nice if they included a photo of her playing the theremin in performance. Was there a phono in the NY Times?? There wasn't a photo on her NY Times website obit. Of course we violate copyright each time we sing or play "Happy Birthday" or "God Bless America" in public without obtaining a performance license. Robert F (not a lawyer here) From sawman@cyberramp.net Tue, 12 May 1998 15:39:14 -0500 Date: Tue, 12 May 1998 15:39:14 -0500 From: Robert F sawman@cyberramp.net Subject: the NY Times obituary... At 12:23 PM 5/12/98 -0400, Reid wrote: >-I was worried about possibly infringing copyright. Can someone refresh me >on the copyright topic? Is an obituary such as Mr. Kozinn's copyrighted in >regard to our meager usage? If so, how about the smaller death notice which >is there with the regular listings? > Just looked at the website again and the copyright notice is indeed listed on the webpage. I would bet there is one for the hardcopy newspaper as well. RF From TheeXVirus@aol.com Tue, 12 May 1998 21:02:45 EDT Date: Tue, 12 May 1998 21:02:45 EDT From: TheeXVirus TheeXVirus@aol.com Subject: the NY Times obituary... I'm pretty sure there was a photo in the actual paper....might go find a copy later tonight....don't know where to find one near my house but... From dmacq@interlog.com Tue, 12 May 1998 22:34:35 -0400 (EDT) Date: Tue, 12 May 1998 22:34:35 -0400 (EDT) From: David MacQuarrie dmacq@interlog.com Subject: great regrets I'm so sorry to hear about the death of Ms. Rockmore. It seems so unlikely that one of the very first persons to get close to the theremin also turns out to be the greatest virtuoso -- and so admired so many years after she stopped playing. We ran a short obit on Clara this evening on the CBC news in Toronto using some of the pictures from the Portland documentary. I'm sure we're the only TV station in the world to note the passing-- so much the poorer for everyone else. MacQ From JKTownsend@aol.com Tue, 12 May 1998 23:36:59 EDT Date: Tue, 12 May 1998 23:36:59 EDT From: JKTownsend JKTownsend@aol.com Subject: Cynical Commentary I echo Dave Ball's comments about the lack of notice about Clara Rockmore's death in the media here in Tennessee. If it wasn't for the Levnet list, I wouldn't have known about it. I join the other mourners who will miss her artistry and inspiring life. --JKTownsend Nashville From sawman@cyberramp.net Tue, 12 May 1998 23:22:37 -0500 Date: Tue, 12 May 1998 23:22:37 -0500 From: Robert F sawman@cyberramp.net Subject: Long live the Cult! I noticed that the NY Times writer stated that today's interest in theremins and Clara has developed into a cult following. I had never really considered myself as a cult member before. But if this is the case, then our Queen is sadly dead, but long live the Cult! Robert F From rewelch@earthlink.net Wed, 13 May 1998 00:47:03 -0400 Date: Wed, 13 May 1998 00:47:03 -0400 From: Reid Welch rewelch@earthlink.net Subject: great regrets Dave, So sorry... I just checked messages and got you call too late. What a great thing to do! I forwarded your letter to Steve Sherman. Excellent point there- "that one of the very first persons to get close to the theremin also turns out to be the greatest virtuoso -- and so admired so many years after she stopped playing." Thanks for that, and for your ever-present kindness. Best, Reid >-----Original Message----- >From: levnet@korrnet.org [mailto:levnet@korrnet.org]On Behalf Of David >MacQuarrie >Sent: Tuesday, May 12, 1998 10:34 PM >To: Multiple recipients of list >Subject: great regrets > > >I'm so sorry to hear about the death of Ms. Rockmore. It seems >so unlikely >that one of the very first persons to get close to the theremin >also turns >out to be the greatest virtuoso -- and so admired so many years after she >stopped playing. > We ran a short obit on Clara this evening on the CBC news in Toronto >using some of the pictures from the Portland documentary. I'm >sure we're the >only TV station in the world to note the passing-- so much the poorer for >everyone else. > >MacQ > > > > > > From cx955@freenet.carleton.ca Wed, 13 May 1998 01:40:46 -0400 (EDT) Date: Wed, 13 May 1998 01:40:46 -0400 (EDT) From: Dylan David Wagner cx955@freenet.carleton.ca Subject: The Plasma Ball > >I guess the plasma ball's effect was primarily visual and not musical. I >had imagined that maybe it could actually "play" the theremin the way the >wind "plays" a harp (complete with changing melodies, harmonies etc.) > To a certain extent it was playing the theremin... Ie: playing the plasma ball altered the theremin (touching various places on the ball produced interesting differences in the theremin's sound) but you'd never get a 4 1/2 octave range out of a plasma ball from radio shack!!! -- Urg Burglle Splatch? Just another solution to ALL of life's problems from Dylan David Wagner at: cx955@Freenet.Carleton.CA From vermeere@nlceicl1.serigate.philips.com Wed, 13 May 1998 13:38:57 +0200 Date: Wed, 13 May 1998 13:38:57 +0200 From: vermeere@nlceicl1.serigate.philips.com vermeere@nlceicl1.serigate.philips.com Subject: Clara Rockmore Dies Subject: Re: Clara Rockmore Dies I'm sorry as well to hear about the death of Ms. Rockmore. Just last week I heard her voice for the first time on the gift tape from Reid and only a few days later I read the sad news on alt.music.makers.theremin... For such a relatively young instrument as the theremin, even for a newcomer like me it's a strange feeling that now both its 'mom' and 'dad' are no longer. It's certainly another feeling than the passing of for instance Leo Fender; he was important for the guitar, but didn't invent the complete instrument or was of great influence for the instruments playing style. (Still a great loss too though.) Peter The Netherlands From vermeere@nlceicl1.serigate.philips.com Wed, 13 May 1998 15:02:29 +0200 Date: Wed, 13 May 1998 15:02:29 +0200 From: vermeere@nlceicl1.serigate.philips.com vermeere@nlceicl1.serigate.philips.com Subject: theremin building: varicaps anyone ? Subject: theremin building: varicaps anyone ? Hello, I remember having read on someones website about the use of variable capacitance diodes instead of the usual kind of variable capacitors for theremin-tuning. I have no idea anymore were I did read it exactly, could perhaps anyone point me in the right direction ? Or who knows, maybe the very author is on Levnet, not that unlikely I guess. This question arises from the unavailability of a small (10 pF) trimcap with a shaft instead of the usual small screw, so I was thinking about varicap. So I'd appreciate it to hear from people who have experimented with varicaps for theremin-use, pitfalls, do's & don't's (donuts ?) & such. Thanks, Peter The Netherlands From olivia@christa.unh.edu Wed, 13 May 1998 09:30:12 -0400 (EDT) Date: Wed, 13 May 1998 09:30:12 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Clara Rockmore Dies Dear group, Most of us got to know Clara Rockmore through her playing Kaddish in Steve's documentary, which was in the context of a rehearsal for her sister's memorial service. The close-up at the end of that rehearsal shows tears welling up in Clara's eyes. I do hope that Clara, too, is given a musical send-off today. Could any of you who are able to attend the service give the rest of us a description of the event? Sharing in your grief, Olivia From dball@esper.com Wed, 13 May 1998 09:47:38 -0400 Date: Wed, 13 May 1998 09:47:38 -0400 From: David Ball dball@esper.com Subject: theremin building: varicaps anyone ? Peter wrote: >I remember having read on someones website about the use of >variable capacitance diodes instead of the usual kind of variable >capacitors for theremin-tuning. I have no idea anymore were I did >read it exactly, could perhaps anyone point me in the right direction ? Sounds like Dave Stork's design. >Or who knows, maybe the very author is on Levnet, not that unlikely >I guess. >This question arises from the unavailability of a small (10 pF) trimcap >with a shaft instead of the usual small screw, so I was thinking about >varicap. So I'd appreciate it to hear from people who have experimented with >varicaps for theremin-use, pitfalls, do's & don't's (donuts ?) & such. Antique Electronics Supply in Tempe, Arizona carries a 12 pF air cap with a shaft that I've used in theremins without problem. They have a web site at www.tubesandmore.com Dave Ball From dball@esper.com Wed, 13 May 1998 09:50:22 -0400 Date: Wed, 13 May 1998 09:50:22 -0400 From: David Ball dball@esper.com Subject: theremin building: varicaps anyone ? Correction to my earlier post--those are 20 pF air caps, not 12. They still work great. Dave Ball From bobs@ccsi.com Wed, 13 May 1998 10:50:32 Date: Wed, 13 May 1998 10:50:32 From: Bob Sexton bobs@ccsi.com Subject: the NY Times obituary... Here is the answer to the question of copyright concerning Clara's obituary in the NY Times as regarding a web site and their stance on their copyrighted material in general. An answer was sent in less than 24 hours. Bob Sexton -------------------------------------------------------------------- X-Sender: jeano@mailgate.nytimes.com Date: Wed, 13 May 1998 10:29:08 -0500 To: bobs@ccsi.com From: Diane Meuser (by way of Jeanette 0rtiz) Subject: Request for reprint on a web site THE NEW YORK TIMES PERMISSIONS DEPARTMENT Telephone: 212-556-1989 Fax: 212-556-1629 DATE: May 13, 1998 TO: BOB SEXTON FROM: Jeanette Ortiz This is in answer to your request for permission to reprint New York Times material. The New York Times is copyrighted and The New York Times logo is a registered trademark. Use of the logotype, articles, photographs and/or graphics without permission is a violation of Federal Law. The fee for permission to republish the articles submitted follows: $200.00 For one-time editorial reprint rights for "Clara Rockmore, 88, Virtuoso of an Unusual Instrument" by Allan Kozinn, 5/12/98. Includes use of text, photo by Steve Sherman & credit line. To be posted on the website (http://www.ccsi.com/~bobs/theremin.html) for a period of 30 days with the right to renew. Note must be posted with NYT text. (See Below) When permission to publish a New York Times article has been granted to you we require that you include the following information: ABOVE THE TEXT..... "...Except for one-time personal use, no part of any New York Times material may be reproduced by any mechanical, photographic, electronic process, or in the form of phonographic recording, nor may it be stored in a retrieval system, transmitted or otherwise copied for public or private use without written permission of the New York Times Permissions Department." BELOW THE TEXT.... Copyright (c) 1998 by The New York Times Company. Reprinted by permission. Should you decide to proceed, please sign your acceptance of this quote and fill in the information requested below. We will issue our permission statement and invoice directly to you. If you have any questions please contact me at the number above. _________________________________________ Sign Here To Accept Terms Above Date __________________________________________ Contact __________________________________________ Street Address ___________________________________________ City/State/Zip From rewelch@earthlink.net Wed, 13 May 1998 12:00:07 -0400 Date: Wed, 13 May 1998 12:00:07 -0400 From: Reid Welch rewelch@earthlink.net Subject: as noon nears... I can't attend the funeral. So I replayed the Clara Rockmore Gift Tape instead. I was just so fortunate to know her. We will remember you always, Clara. Reid +++ The Gift Tape continues. Send a mailing address. US and worldwide. No compensation, please. +++ From sebadork@rocketmail.com Wed, 13 May 1998 09:41:58 -0700 (PDT) Date: Wed, 13 May 1998 09:41:58 -0700 (PDT) From: Drew sebadork@rocketmail.com Subject: Long live the Cult! When somehthing is said to have or to have developed a "cult" following, or is referred to as a "cult classic" (as in the case of the Rocky Horror Picture Show), the term "cult" means only known or important/revered by a small group or fan base. The term "cult" is not meant literally. :) ---drew _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com From dball@esper.com Wed, 13 May 1998 13:51:44 -0400 Date: Wed, 13 May 1998 13:51:44 -0400 From: David Ball dball@esper.com Subject: Fw: Clara Andrew asked me to pass along this message: >Dave, >Fellow Levnet-er Andrew Gunsberg in Australia here. > >I cannot post to Levnet from this account, so I humbly ask you to pass on >the the group my deepest sympathies. > > >I can't write the words to express my sadness very well, but I can feel an >emptiness in the air, and inside me. >It's wonderful though, how so many people from all over this tiny planet can >be brought a little closer because of this. > > >With sadness, Andrew. > > > > > > > > > From sawman@cyberramp.net Wed, 13 May 1998 13:56:15 -0500 Date: Wed, 13 May 1998 13:56:15 -0500 From: Robert F sawman@cyberramp.net Subject: Ethervox Howdy: I see people sometimes comment on Levnet, etc., about waiting for their Ethervox. What is the normal length of time from order to shipment? I think Jason B. told me he ordered his last October and is still waiting 7 months later. Is this to be expected? Are there R & D problems that are still being refined or what? Anyone know? Robert F From jmsnyder@earthlink.net Wed, 13 May 1998 15:10:56 -0400 Date: Wed, 13 May 1998 15:10:56 -0400 From: John Snyder jmsnyder@earthlink.net Subject: as noon nears... Although I am in Manhattan, my work situation today simply did not permit my attendance at the funeral, either. I am very fondly remembering with gratitude the afternoon in May, 1985 spent with Clara, and her appearance at Caramoor a couple of years ago on a discussion panel with Robert Sherman, Steven Martin, Robert Moog. May she rest in peace.....certainly we will remember this remarkable woman always. Thank you, Reid, for all the time you were able to spend with her and for sharing some of that with us! Best, John At 12:05 PM 5/13/98 -0400, you wrote: > >I can't attend the funeral. So I replayed the Clara Rockmore Gift Tape >instead. > >I was just so fortunate to know her. > > >We will remember you always, Clara. > >Reid > > > > >+++ The Gift Tape continues. Send a mailing address. US and worldwide. No >compensation, please. +++ > > > From rewelch@earthlink.net Wed, 13 May 1998 19:36:21 -0400 Date: Wed, 13 May 1998 19:36:21 -0400 From: Reid Welch rewelch@earthlink.net Subject: as noon nears... Hi John, Speaking of sharing... sharing, without "secrets" or selfishness was Clara's hallmark. You did huge favor in sharing the Lucy Rosen theremin technical data some months ago. A tremendous help to those of us trying to understand and adapt Lev's early work. And that's just one example of your putting the light on otherwise lost information. Thank you. Incidentally, I'm awondering: Of current levnet members we two, Dennis James and Albert Glinsky met Clara in person. Is their anyone else? Reid >-----Original Message----- >From: levnet@korrnet.org [mailto:levnet@korrnet.org]On Behalf Of John >Snyder >Sent: Wednesday, May 13, 1998 3:07 PM >To: Multiple recipients of list >Subject: Re: as noon nears... > > > Although I am in Manhattan, my work situation today simply >did not permit >my attendance at the funeral, either. I am very fondly remembering with >gratitude the afternoon in May, 1985 spent with Clara, and her appearance >at Caramoor a couple of years ago on a discussion panel with Robert >Sherman, Steven Martin, Robert Moog. May she rest in >peace.....certainly we >will remember this remarkable woman always. Thank you, Reid, for all the >time you were able to spend with her and for sharing some of >that with us! > Best, > John > > > >At 12:05 PM 5/13/98 -0400, you wrote: >> >>I can't attend the funeral. So I replayed the Clara Rockmore Gift Tape >>instead. >> >>I was just so fortunate to know her. >> >> >>We will remember you always, Clara. >> >>Reid >> >> >> >> >>+++ The Gift Tape continues. Send a mailing address. US and >worldwide. No >>compensation, please. +++ >> >> >> > > From dball@esper.com Wed, 13 May 1998 21:04:48 -0400 Date: Wed, 13 May 1998 21:04:48 -0400 From: David Ball dball@esper.com Subject: as noon nears... Reid wrote: >You did huge favor in sharing the Lucy Rosen theremin technical data some >months ago. A tremendous help to those of us trying to understand and adapt >Lev's early work. And that's just one example of your putting the light on >otherwise lost information. Thank you. I second that! The information that John shared relating to the Rosen theremin has been extremely helpful to me. I guess it's the closest thing to a schematic of Clara's instrument I'm likely to see. This information (along with lots of other nice archival stuff that's come across levnet and the sounds on the gift tape) has been treasure that could have very easily been buried forever. Fortunately there were those who didn't allow this to happen. As Clara's playing did much to keep the instrument alive, so has the open sharing of information. Buried treasure is soon forgotten. Thanks to all who keep the instrument and its heritage alive and well! Dave Ball From rmast@tezcat.com Wed, 13 May 1998 21:19:04 -0500 Date: Wed, 13 May 1998 21:19:04 -0500 From: Russell Mast rmast@tezcat.com Subject: Clara Rockmore. Heartfelt condolences to all who knew and loved her. I'm glad to know that I'm not alone when I say that her memory will inspire me for years to come. -Russell Mast From theremin1@worldnet.att.net Wed, 13 May 1998 23:39:11 -0700 Date: Wed, 13 May 1998 23:39:11 -0700 From: Arthur Harrison theremin1@worldnet.att.net Subject: LEVNET digest 309 Peter: >I remember having read on someones website about the use of >variable capacitance diodes instead of the usual kind of variable >capacitors for theremin-tuning. I have no idea anymore were I did >read it exactly, could perhaps anyone point me in the right direction ? > >Or who knows, maybe the very author is on Levnet, not that unlikely >I guess. >This question arises from the unavailability of a small (10 pF) trimcap >with a shaft instead of the usual small screw, so I was thinking about >varicap. So I'd appreciate it to hear from people who have experimented with >varicaps for theremin-use, pitfalls, do's & don't's (donuts ?) & such. Art: Yes, I've used cap. diodes many times, for all kinds of Theremin apps. Here's a good trick: For a really inexpensive cap. diode, try a reverse- biased 1N4001 or similar 1A Si rectifier. Works great in many cases; you can get several picofarads of change over a few volts. BTW, the application of varicap diodes is probably limited to solid-state circuits, due to voltage considerations. Also, be aware that the applied signal voltage (the AC coupled voltage, that is), should be substantially lower than the DC capacitance-adjusting voltage, for best application. From vermeere@nlceicl1.serigate.philips.com Thu, 14 May 1998 08:10:50 +0200 Date: Thu, 14 May 1998 08:10:50 +0200 From: vermeere@nlceicl1.serigate.philips.com vermeere@nlceicl1.serigate.philips.com Subject: Clara Rockmore newspaper article Subject: Clara Rockmore newspaper article To my surprise I read an article about Clara Rockmores death in my Dutch newspaper (Volkskrant of May 13). So the sad news travels the globe. It's basically a translation of the NY Times article, with some words added about the renewed theremin-interest of the last few years. Unfortunately, among Led Zeppelin, David Thomas, the French Air and the Dutch Fay Lovsky, the Beach Boys and Portishead pop up too. With the 'correctional efforts' of others here in mind, I guess that the least I could do was to send the newspaper a message. Peter The Netherlands From pluto@4link.net Thu, 14 May 1998 01:54:24 -0700 Date: Thu, 14 May 1998 01:54:24 -0700 From: Ross Marshall pluto@4link.net Subject: the NY Times obituary... Bob Sexton wrote: > > Here is the answer to the question of copyright concerning Clara's > obituary in the NY Times > FROM: Jeanette Ortiz > > This is in answer to your request for permission to reprint New York Times > material. The New York Times is copyrighted and The New York Times logo is > a registered trademark. Use of the logotype, articles, photographs and/or > graphics without permission is a violation of Federal Law. > . [[[ This is true. OK, don't "reprint" it on web or in paper. BUT, here's what you can do. mention on the web site Clara's passing. Mention that the New York Times carried the news. Then say, The times mentioned, Clara Rockmore died at 88 (and was a) Virtuoso,..etc, etc.... Then they cannot say a thing. Just don't publish a photocopy of the artical. Write up a paragraph, then just mention N.Y.T recorded the event and metioned it. Then paraphrase the obituary statement. Use some other photo as well. Plus, IF Clara knew that you blew $200.00 dollars on a copyright for her obituary, she'd be a bit pieved. ROSS ............................................... From pluto@4link.net Thu, 14 May 1998 02:01:45 -0700 Date: Thu, 14 May 1998 02:01:45 -0700 From: Ross Marshall pluto@4link.net Subject: as noon nears... Excellent Dave. (Ross) David Ball wrote: > > Reid wrote: > > > >You did huge favor in sharing ... heritage alive and well! > > Dave Ball From rewelch@earthlink.net Thu, 14 May 1998 11:21:21 -0400 Date: Thu, 14 May 1998 11:21:21 -0400 From: Reid Welch rewelch@earthlink.net Subject: the NY Times obituary... Ross said: >Plus, IF Clara knew that you blew $200.00 dollars on a copyright for her >obituary, she'd be a bit pieved. >ROSS >............................................... Oh yes! I fully agree! Absolutely, she would go ballistic at this latest appropriation-for-profit. Just in case, I purchased several copies of the Tuesday "NY Times". One copy for me -and the others to share with friends. Simply send to me privately your mailing address with the subject header: "OBITUARY". No compensation please. Reid From dstork@ibm.net Fri, 15 May 1998 00:54:20 -0700 Date: Fri, 15 May 1998 00:54:20 -0700 From: Dave Stork dstork@ibm.net Subject: Varactors/Varicaps Art wrote: > Yes, I've used cap. diodes many times, for all kinds of Theremin apps. > Here's a good trick: For a really inexpensive cap. diode, try a reverse- > biased 1N4001 or similar 1A Si rectifier. Works great in many cases; > you can get several picofarads of change over a few volts. Certainly! You can control the capacitance of any PN-junction by varying the reverse bias, and regular silicon rectifiers seem to work just fine. I used 1N4007s as varactors in my tube theremin circuit, as well as the solid-state theremin I'm now designing. For those who might be wondering about the physics of varactors, they take advantage of an interesting side-effect of PN junctions. The depletion region between the P and N layers widens with reverse bias; the two layers can be used like plates in a capacitor, and the widening and narrowing of the depletion region with applied voltage is analogous to moving these "plates" closer to or further away from one another. Any PN junction has this property; diodes packaged as varactors are specially designed to exploit it. PN junctions have a positive temperature coefficient of conductance, so it would seem that varactors might tend to drift with temperature. However, in my experience, they have proven no worse in this regard than mechanical variable caps. In fact, for use in theremins, I consider them superior in many ways to the traditional variable caps, at least as long as you provide a stable source of tuning voltage. A couple of diodes, a resistor and fixed cap for decoupling, and a pot for tuning is a very economical setup, and you can mount the control anywhere you like. If so inclined, you could put two sets of tuning controls on both sides of a theremin and have an instrument easily playable by left- and right-handers with no modification. > BTW, the application of varicap diodes is probably limited to solid-state > circuits, due to voltage considerations. Also, be aware that the applied > signal voltage (the AC coupled voltage, that is), should be substantially > lower than the DC capacitance-adjusting voltage, for best application. As implied above, I've used varactors in a tube theremin with no problem. I connected them in series (cathode-to-cathode) and applied the tuning bias to the junction. The two diodes in series ensure that neither becomes forward-biased by the signal. The range of capacitance variation is halved by putting them in series, of course, but I haven't found this to be a problem. Regarding the news of Clara's death: I don't really have anything to say, except to mention that I'll be thinking of her while I'm working on my theremin circuits tomorrow. -- Dave Stork Stork Audio dstork@ibm.net http://members.aol.com/StorkAudio From olivia@christa.unh.edu Fri, 15 May 1998 10:00:09 -0400 (EDT) Date: Fri, 15 May 1998 10:00:09 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Clara's funeral Dear group, Did anyone from Levnet attend the service? If so, please tell us about it. Thanks! Hugs to all, Olivia P.S. to anyone in New York or planning to visit. You may wish to go to the Pierpont Morgan Library and see their exhibit of music manuscripts. I wrote two essays for the catalogue: on Edgard Varese and on Morton Feldman. Check it out! From MCINTYRE@pa.msu.edu Fri, 15 May 1998 12:09:56 -0400 Date: Fri, 15 May 1998 12:09:56 -0400 From: MCINTYRE@pa.msu.edu MCINTYRE@pa.msu.edu Subject: recognition (-8 Earlier this week I had a physical exam with my new physician. (My previous doctor retired to write novels.) The previous doctor had written in my record that she suspected my tendonitis was caused by "instrument playing", so the new doctor asked what instrument I played. I responded, "Synthesizer, guitar, bass guitar, theremin." He mentioned that the Odeon (Lansing's art theater) would sometimes bring in a theremin player to accompany films. "Yes," I told him. "Me." (-8 John McIntyre Physics - Astronomy Domine Dept Michigan State University mcintyre@pa.msu.edu P.S. Next on the agenda is Murnau's _Faust_ May 29th and 31st. From kparker@reno.modernsolutions.com Fri, 15 May 1998 10:09:19 -0700 (PDT) Date: Fri, 15 May 1998 10:09:19 -0700 (PDT) From: Kelly Parker kparker@reno.modernsolutions.com Subject: NY Times Obituary If it's still online, can you link to it without paying? Kelly Parker From pluto@4link.net Fri, 15 May 1998 12:06:10 -0700 Date: Fri, 15 May 1998 12:06:10 -0700 From: Ross Marshall pluto@4link.net Subject: Varactors/Varicaps Dave Stork wrote: > > Art wrote: > > As implied above, I've used "varactors" in a ... Did they used them in Jurasic Park? I'd like to have onbe? How much do you feed it, and who do you feed it to? ROSS From pluto@4link.net Fri, 15 May 1998 12:25:22 -0700 Date: Fri, 15 May 1998 12:25:22 -0700 From: Ross Marshall pluto@4link.net Subject: Sheet Music: House Of Wax. HOUSE OF WAX MUSIC: A Real Collector's Item! OK. Sense Clara died, I have thought how I could brighten up everyone's day a little bit. This sheet music I have: I will let everyone have a copy to read and play. Just everyone send $5.00 and I'll process it and ship it. It will cost a buck to copy and another 2.00 or more to ship. So, to make it worth my while, I need 100 people to order the music. HEY!... $5.00 bucks is cheap! You cannot just go down to the local music store and get this one! It don't exist anywhere else! You all must have this RARE piece of music. Here's the old letter and address. ...ROSS "A blessing came by. A friend gave me a copy of this. Now I offer it to > anyone. You'll see what it's worth when you read > this and then have it in your hands!: Music readers will especially love it! It just looks 'pretty' to me. > > Six pages sheet music: NOTES: Reel-1, part-1. House of Wax: Sections. > "Moderato", "House of Wax", "V. Price", "P. Lovejoy", "Added Cast". > Music for theremin written by David Buttouph for 'House of Wax', with > Vincent Price. 1953 W.Bro's .Music (UnPub) about 10x13 in size. > Only two copies exist. One at WBro, and this one. If you want tit get it now. > Plutonium Films: OK, folks, send that $5.00 bucks now. I'm only reserving 100 copies! Each will be numbered and signed by me. c/o Ross Marshall > 8055 Lankershim #2 > N. hollywood, Ca. 91605 >1-818-504-4135 From chall@totalsports.net Fri, 15 May 1998 15:14:56 -0400 Date: Fri, 15 May 1998 15:14:56 -0400 From: Charles Hall chall@totalsports.net Subject: Sheet Music: House Of Wax. Ross Marshall wrote: > > HOUSE OF WAX MUSIC: A Real Collector's Item! Please reserve one for me. I'll pay $5. Thanks. -- Charles Hall Total Sports Raleigh, NC USA http://info.totalsports.net From sawman@cyberramp.net Fri, 15 May 1998 18:06:36 -0500 Date: Fri, 15 May 1998 18:06:36 -0500 From: Robert F sawman@cyberramp.net Subject: No subject review levnet From DavesTvox@webtv.net Fri, 15 May 1998 18:36:53 -0500 Date: Fri, 15 May 1998 18:36:53 -0500 From: David Miller DavesTvox@webtv.net Subject: help! (forwarded from a.m.m.t.) --WebTV-Mail-2029619464-6941 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Here is something posted in the newsgroup (yeah...we still have a newsgroup). Maybe someone can help this fellow. Message is below, near bottom: --WebTV-Mail-2029619464-6941 Content-Type: MESSAGE/RFC822 Content-Transfer-Encoding: 7BIT From: Matthew Francis Clifford Newsgroups: alt.music.makers.theremin Subject: help! Date: Fri, 15 May 1998 11:39:52 +0100 Organization: University of Reading Lines: 20 Message-ID: NNTP-Posting-Host: suma3.rdg.ac.uk Mime-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi i am a second year Cybernetics student at the university of Reading in England, and i have been given the task of designing a controller for a virtual reality environment. The reason i have contacted you is because i have considered using a three antenna theremin to detect the hand and then send the position of the hand to a computer. the problem is i know nothing about theremins and i have no idea how suitable this type of machine would be for my project, in paticular i don't know if 3 antenna at right angles to each other would interfere or how far away your hand can be from an arial before the machine will detect it and if there is a way to design some kind of source you could hold that the machine would concentrate on instead of your arm, any information that you could give me about any of those questions would be greatly appreciated. Yours Sincerly Matthew Clifford shu97mfc@reading.ac.uk --WebTV-Mail-2029619464-6941-- From pluto@4link.net Fri, 15 May 1998 19:05:12 -0700 Date: Fri, 15 May 1998 19:05:12 -0700 From: Ross Marshall pluto@4link.net Subject: Sheet Music: House Of Wax. Everyone interested in house of wax music, just send your fees for the copy. I'll process them and mail once a week. ROSS Thank you. From theremin1@worldnet.att.net Sat, 16 May 1998 01:00:22 -0700 Date: Sat, 16 May 1998 01:00:22 -0700 From: Arthur Harrison theremin1@worldnet.att.net Subject: LEVNET digest 311 Dave Stork on varactors: >PN junctions have a positive temperature coefficient of conductance, so >it would seem that varactors might tend to drift with temperature. >However, in my experience, they have proven no worse in this regard than >mechanical variable caps. Art responds: I concur on the stability, Dave, and was very pleased to find out how well they work in a heterodyne set-up. Dave: >I've used varactors in a tube theremin with no >problem. I connected them in series (cathode-to-cathode) and applied the >tuning bias to the junction. The two diodes in series ensure that >neither becomes forward-biased by the signal. The range of capacitance >variation is halved by putting them in series, of course, but I haven't >found this to be a problem. Art: Yes, I suppose that tube circuits don't necessarily have all their components at B+. I, too, find the "back-to-back" arrangement of diodes very useful. Dave: >Regarding the news of Clara's death: I don't really have anything to >say, except to mention that I'll be thinking of her while I'm working on >my theremin circuits tomorrow. Art: Me, too. >> Art wrote: >> As implied above, I've used "varactors" in a ... >Did they used them in Jurasic Park? I'd like to have onbe? >How much do you feed it, and who do you feed it to? >ROSS Art: Now, Ross, if anything should be classified as a "dinosaur," then TUBES, not those little silicon diodes, certainly qualify first! Matthew asks: >i am a second year Cybernetics student at the university of Reading in >England, and i have been given the task of designing a controller for a >virtual reality environment. >The reason i have contacted you is because i have considered using a three >antenna theremin to detect the hand and then send the position of the hand >to a computer. the problem is i know nothing about theremins and i have no >idea how suitable this type of machine would be for my project, in >paticular i don't know if 3 antenna at right angles to each other would >interfere or how far away your hand can be from an arial before the >machine will detect it and if there is a way to design some kind of source >you could hold that the machine would concentrate on instead of your arm, >any information that you could give me about any of those questions would >be greatly appreciated. Art responds: Actually, the design would probably be much easier if you allow some sort of object be held in the hand. Trying to accomplish this with just capacitance detection would be tricky, owing to the fact that the hand is an indistinctive target. I've seen electromagnetic apparatus used to track an object in three dimensions for laboratory VR applications. Generally, precise distance measurements with capacitance doesn't work very well past a meter or so, since the value of capacitance diminishes to a very small value. BTW, did y'all know that the capacitance between the Earth and its Moon is about 150 microfarads? Can anyone top that for a useless fact? From DavesTvox@webtv.net Sun, 17 May 1998 00:10:53 -0500 Date: Sun, 17 May 1998 00:10:53 -0500 From: David Miller DavesTvox@webtv.net Subject: Kudos to Wavefront Kudos to Wavefront theremins and Mark Segal. I just caught the variety show, "VIVA VARIETY" on the Comedy Central channel. Musical guest was the group, Fishbone, who prominently featured Mark's briefcase model theremin in the tune they performed. I'm sure the show left everyone seeing it saying, "Hey, did you just see that guy playing a briefcase?". The theremin was a the major part of their act. At the end of the tune, the singer/"thereminist" closes the theremin and walks away like a business man with briefcase in tote. Oh, I might add, the theremin was positioned on an office desk, along with office furnishings. Dave M From AKarlok@aol.com Sun, 17 May 1998 03:12:46 EDT Date: Sun, 17 May 1998 03:12:46 EDT From: AKarlok AKarlok@aol.com Subject: boy it's quiet..... Is everyone outside practicing their theremins? Andy From Planetgrog@aol.com Sun, 17 May 1998 06:23:10 EDT Date: Sun, 17 May 1998 06:23:10 EDT From: Planetgrog Planetgrog@aol.com Subject: boy it's quiet..... In a message dated 5/17/98 7:15:19 AM, you wrote: << Is everyone outside practicing their theremins? Andy >> Gigging, practicing, recording, fixing, building, breaking, decorating..... (not breaking, decorating soon when I have time) It is quiet out there!!! What are the latest pieces or songs that you are playing now? From dball@esper.com Sun, 17 May 1998 10:40:05 -0400 Date: Sun, 17 May 1998 10:40:05 -0400 From: David Ball dball@esper.com Subject: Knoxville noticed! To my amazement, the Sunday issue of the Knoxville News Sentinel carried a short story on the death of Clara Rockmore. Mostly a rehash of the NYT obit, but there just the same. Dave Ball From AKarlok@aol.com Sun, 17 May 1998 14:19:30 EDT Date: Sun, 17 May 1998 14:19:30 EDT From: AKarlok AKarlok@aol.com Subject: boy it's quiet..... I just got a book called "the Classical Fake Book", it has the basic melodies of every major symphony, violin,cello concertos, opera highlights, everything broken down to the major themes, and chord changes. It's a great book for practicing reading and ear training for the theremin. I've been sitting with that, and a piano player, and going through it. It's really improving my reading Andy From theremin@cyberartists.com Sun, 17 May 1998 12:07:00 -0700 Date: Sun, 17 May 1998 12:07:00 -0700 From: Jason Barile theremin@cyberartists.com Subject: Relative pitch? Speaking of ear training, I just thought I'd share a technique I've been working with for the past few months. My goal is not obtain perfect pitch outright, but rather perfect relative pitch. So, starting with any note, I'd like to be able to quickly play any interval, up or down from the base note. First, I tried making some recordings of the intervals on a piano and playing along with them. That seemed to help, but I noticed that without the recording as an aid, I was usually falling flat of the notes, especially for jumps of a major 6th or more. So then I started trying to think of songs that started with varioius intervals... "Jaws" for a minor 2nd, "Amazing Grace" for a 4th, etc. This has helped considerably. Now, when I'm sight-reading music, I just think of those songs and can usually come to within a few cents of the right note. Maybe this is a standard technique for singers or fretless string players... but it's also helping a thereminist :) What other methods are popular for learning this soft of thing? Thanks, -Jason -----Original Message----- From: AKarlok [SMTP:AKarlok@aol.com] Sent: Sunday, May 17, 1998 11:21 AM To: Multiple recipients of list Subject: Re: Re: boy it's quiet..... I just got a book called "the Classical Fake Book", it has the basic melodies of every major symphony, violin,cello concertos, opera highlights, everything broken down to the major themes, and chord changes. It's a great book for practicing reading and ear training for the theremin. I've been sitting with that, and a piano player, and going through it. It's really improving my reading Andy From pluto@4link.net Sun, 17 May 1998 12:35:19 -0700 Date: Sun, 17 May 1998 12:35:19 -0700 From: Ross Marshall pluto@4link.net Subject: Relative pitch? Jason Barile wrote: My goal is not obtain perfect > pitch outright, but rather perfect relative pitch. .............. Jason; Try brushing the antenna from a slight side position; to the right of thre antenna an or two. Move the right hand to the right of the antenna AS you play a note or series of notes and you'll see you can 'clean' up the note somewhat, from souring or blurping. Be easy on the volume control; unlike the way I used to do it. Be gentle and float the volume hand along. Pure notes are hard, but they are even harder when you're approaching the pitch antenna directly. Too much wabbling. Moving hand to the right a bit as you play does clean up the pitch and therefore the clearity of the note. IF you want to really play the note 'relatively' and not clearly, then approach antenna straight forwards. Go right into it. Otherwise try a side angle, even to the left gives a different sound. Also, try turnimng pitch hand up a little with palm open. Then use middle fingers, such as the middle finger itself to do the leading notes. The middle finger can be wiggled like a piano hammer, in and out from the palm. It's quicker than the little finger. Hope these tricks of mine help. ROSS From pluto@4link.net Sun, 17 May 1998 12:36:47 -0700 Date: Sun, 17 May 1998 12:36:47 -0700 From: Ross Marshall pluto@4link.net Subject: boy it's quiet..... Planetgrog wrote: > > In a message dated 5/17/98 7:15:19 AM, you wrote: > > << Is everyone outside practicing their theremins? > Andy > >> > > Gigging, practicing, recording, fixing, building, breaking, > decorating..... > (not breaking, decorating soon when I have time) > > It is quiet out there!!! What are the latest pieces or songs that you are > playing now? ............... Pamelia; Didi you get my list of musical pieces to practice on? ROSS From Planetgrog@aol.com Sun, 17 May 1998 16:23:54 EDT Date: Sun, 17 May 1998 16:23:54 EDT From: Planetgrog Planetgrog@aol.com Subject: Relative pitch? In a message dated 5/17/98 7:05:07 PM, you wrote: <> Sounds like what you're doing is great !! Especially since it works for you. Another good exercise is just sight singing, tuning intruments without a tuner, etc.. From Planetgrog@aol.com Sun, 17 May 1998 16:27:54 EDT Date: Sun, 17 May 1998 16:27:54 EDT From: Planetgrog Planetgrog@aol.com Subject: boy it's quiet..... In a message dated 5/17/98 7:24:28 PM, you wrote: <> I've played them from what I remember, but write it in again, I might have forgotten some of them. From DavesTvox@webtv.net Sun, 17 May 1998 16:06:35 -0500 Date: Sun, 17 May 1998 16:06:35 -0500 From: David Miller DavesTvox@webtv.net Subject: Relative pitch? Jason I always found it best to think of the intervals in relationship to their specific scale within a given key. For example, C to A, just think "C,d,e,f,g,A" in a C major scale. In time, you know exactly what any given interval is without much thought. It's also benificial to learn the interval by number, for example I-VI instead of always C-A. This helps out with transposition skills. I find there is too much going on in the middle of a tune to think, "OK, now a flat 5 is 'Maria'". When I play jazz (trumpet) there is never the time to relate any interval to some prelearned tune. Most often, your ear won't hear the tune, particularly if your in the middle of some weird changes. You hear what the interval is based on its relationship to what key you are in. We used to do intervals drills way back in college. I think for some, the "familiar tune" method worked, but I always found it best to know exactly where I was within the key. I'm more inclined to think things like, "I-V" instead of "Amazing Grace". This helps out much more later on down the road. Just my opinion. Dave M From pluto@4link.net Sun, 17 May 1998 21:36:34 -0700 Date: Sun, 17 May 1998 21:36:34 -0700 From: Ross Marshall pluto@4link.net Subject: My List of Tunes! Pamelia; Here are my tunes: My list of tunes I play and practice, are: The Beua Hunks, Little Rascals---Great Jazz warm up CD's. 1/2 of Clara's CD tunes by Delos.---Some more than others. The Swan--S.Saens. Ponce Estrellita Villa-Lobos Bachianas Brasileiras No.5 Fuleihan Pastroale.(Still working on.) Carousel Waltz. (HARD ONE!) Sleeping Baeuty Waltz. Blue Danube Masquerade Suite Waltz Valse from Serenade for Strings Roses From The South Concert Waltz No.1 Waltz of the Flowers. Morning Papers Waltz Vioces of Spring Waltz Saint Saens:Intro & Rondo Capriccioso,Op.28 Massenet: Meditation from Thais Mozart, Menuett, D-dur Minuet, in D-Major Ave Maria Song of an Indian Merchant Schon Rosmarin From freenoise@yahoo.com Sun, 17 May 1998 21:24:38 -0700 (PDT) Date: Sun, 17 May 1998 21:24:38 -0700 (PDT) From: drew Version II freenoise@yahoo.com Subject: Relative pitch? Hey everyone! drew here-- i went up to the music store today and played around with the new Roland MC-505 groove box. First of all, let me say, it's AWESOME! I fully plan on getting one in the near future, and am already saving my money. The main thing about the MC-505 that would be of interest to this group is the whole "D-Beam" system-- the beam of infared light that lets you control pitch, tempo, etc.-- well, i checked it out, and messed with the d-beam. It's SORTA "theremin-y" in the way that you can control pitch , but you can't control volume with it-- you just move your hand up and down over the beam. It also uses preset scales, so the sound is "jerky" as opposed to smooth like a theremin. drew _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com From sawman@cyberramp.net Sun, 17 May 1998 23:24:19 -0500 Date: Sun, 17 May 1998 23:24:19 -0500 From: Robert F sawman@cyberramp.net Subject: Question about Rozsa's "Spellbound" Howdy, y'all: I would like to know which CD of Rozsa's "Spellbound" soundtrack music is the best one to buy. I've been told that the RCA label by the National Philarmonic Orchestra is not that good; and actually according to the track listing it doesn't have all the Spellbound music anyway, but rather a mixture of Rozsa films. Please reply with which version I should consider buying on CD. Please be specific with album title and label at least; catalog number if you have it handy. Someone on here once told me that at the Portland Festival, someone was selling a version at intermission. Did anyone get that version? if so, what was it, and how is it? Thanks. Robert F From spidey@bit.net.au Mon, 18 May 1998 19:03:13 +1000 Date: Mon, 18 May 1998 19:03:13 +1000 From: Andrew spidey@bit.net.au Subject: Something fun for your desktop http://www.softseek.com/cgi-bin/download?08023-http://www.sagebrush.com/%7Es ells/mousng23.exe With love from Beautiful Brisbane Australia, where the humidity makes it awfully hard to keep my instruments in tune. xxxAndrew From spidey@bit.net.au Mon, 18 May 1998 19:27:47 +1000 Date: Mon, 18 May 1998 19:27:47 +1000 From: Andrew spidey@bit.net.au Subject: Fishbone Hts//www.actlab.utexas.edu/~dzmud/fishbone/fishbon2.jpg Who can tell what instrument Angelo is playing here? When I saw Fishbone, he played a 91A through an eventide hs3000 and it was AMAZING....not exactly musical, but just what the music needed See this band if you get the chance, but wear your earplugs. It was actually the first time I ever saw a Theremin. I've been scarred I think. :) xx andrew From vermeere@nlceicl1.serigate.philips.com Mon, 18 May 1998 17:12:00 +0200 Date: Mon, 18 May 1998 17:12:00 +0200 From: vermeere@nlceicl1.serigate.philips.com vermeere@nlceicl1.serigate.philips.com Subject: Varactors/Varicaps Subject: re: Varactors/Varicaps I wanted to say thanks here also to the various people who responded on my varicap-questions. Although the circuit which I've just got working is not a high-end & sophisticated design (to say the least), it sure is nice for what it is and it gives me the ability to experiment and incorporate the info and tips I got here on Levnet. The theremin is a real nice kind of circuit for experimenting I must say. While you have to pay attention to it being HF of course, you can play with various things like coupling, overdrive, tuning etc quite easy and without having to add tons of additional components. But you know all this already, I just wanted to express some of my well, don't know how to call this. ok. Dave Stork wrote in #311: >For those who might be wondering about the physics of varactors, they >take advantage of an interesting side-effect of PN junctions. The >.... >to moving these "plates" closer to or further away from one another. Any >PN junction has this property; diodes packaged as varactors are >specially designed to exploit it. As I understood it, the doping-profiles of varicaps are such that that the desired/ideal voltage-to-capacitance relation is better approximated. Lets call this optimized for the application, just like the non-lineair tuning caps in radios often are. >PN junctions have a positive temperature coefficient of conductance, so >it would seem that varactors might tend to drift with temperature. >However, in my experience, they have proven no worse in this regard than >mechanical variable caps. Is this already the case without tuning loop ? Nice and surprising, but I guess it must indeed be without a loop, since a tuning loop would compen- sate temperature drift (I hope). >In fact, for use in theremins, I consider them >superior in many ways to the traditional variable caps, at least as long >as you provide a stable source of tuning voltage. A couple of diodes, a >resistor and fixed cap for decoupling, and a pot for tuning is a very >economical setup, and you can mount the control anywhere you like. So here's three in series: the anti-series diodes _and_ the large fixed cap for decoupling ? Or do you use the fixed cap for decoupling the taper of the pot ? Regards, Peter From freenoise@yahoo.com Mon, 18 May 1998 09:08:27 -0700 (PDT) Date: Mon, 18 May 1998 09:08:27 -0700 (PDT) From: drew Version II freenoise@yahoo.com Subject: Bands/etc.?? Hey everyone-- I was just wondering what bands or musicians that everyone on here likes to listen to? (they don't have to use a theremin!) Mine are: Tricky, Portishead, The Propellerheads, Tori Amos, Sonic Youth, Phish, Starflyer 59, The Beatles, Nine Inch Nails, The Chemical Brothers, The Folk Implosion/Lou Barlow, Leonard Cohen, etc. etc. etc. what about you people? _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com From jimc@ctr.com Mon, 18 May 1998 09:20:49 -0700 Date: Mon, 18 May 1998 09:20:49 -0700 From: Jim Chapman jimc@ctr.com Subject: levnet unsubscribe From russ@prairieweb.com Mon, 18 May 1998 11:48:50 -0600 Date: Mon, 18 May 1998 11:48:50 -0600 From: Russ Evenhouse russ@prairieweb.com Subject: Bands/etc.?? drew Version II wrote: > > Hey everyone-- I was just wondering what bands or musicians that > everyone on here likes to listen to? > (they don't have to use a theremin!) > Mine are: Tricky, Portishead, The Propellerheads, Tori Amos, Sonic > Youth, Phish, Starflyer 59, The Beatles, Nine Inch Nails, The Chemical > Brothers, The Folk Implosion/Lou Barlow, Leonard Cohen, etc. etc. etc. > > what about you people? > > _________________________________________________________ > DO YOU YAHOO!? > Get your free @yahoo.com address at http://mail.yahoo.com Hello Drew, I'm old (42), so I listen to Beatles, Stones, Stevie Ray, Little Feat, Jimi, Dave Matthews, and any good orchestral arrangements of Claude DeBussy. That guy was GREAT!!!!!. Anyone else think so? Oh yeah, I forgot. Sting, Tower of Power, Captain Beyond, King Crimson, Doobie Brothers, Johnny Winter, and oh, by the way, the Nine Inch Nails soundtrack for the original Quake game was appropos. I tried to imagine what would have gone better in that otherworldly, violent environment, and other than maybe the talent of an early '70s Alice cooper, not many possibilities came to mind. How 'bout you? Russ Evenhouse From dball@esper.com Mon, 18 May 1998 13:42:18 -0400 Date: Mon, 18 May 1998 13:42:18 -0400 From: David Ball dball@esper.com Subject: Bands/etc.?? drew Version II wrote: >Hey everyone-- I was just wondering what bands or musicians that >everyone on here likes to listen to? >(they don't have to use a theremin!) >Mine are: Tricky, Portishead, The Propellerheads, Tori Amos, Sonic >Youth, Phish, Starflyer 59, The Beatles, Nine Inch Nails, The Chemical >Brothers, The Folk Implosion/Lou Barlow, Leonard Cohen, etc. etc. etc. > >what about you people? This could be a fun thread--I like so much stuff it's hard to compile a list, but what I've been listening to the past few weeks has been (in no particular order): Miles Davis, John Fahey, Spirits of Rhythm, Sol Hoopii, Ella Fitzgerald, Bird and Diz, Stuff Smith, Tom Waits, Fletcher Henderson's Orch, David Lindley, Ry Cooder, Jethro Burns, Jimi Hendrix, Butch Thompson, Hank Jones, Thelonius Monk, etc. etc.... There's actually probably not a theremin in the list, come to think of it. Oh well... Who's next? Dave Ball From Planetgrog@aol.com Mon, 18 May 1998 15:53:31 EDT Date: Mon, 18 May 1998 15:53:31 EDT From: Planetgrog Planetgrog@aol.com Subject: Bands/etc.?? In a message dated 5/18/98 5:56:18 PM, you wrote: <> I like I like!!! Not too much of what I hear these days, but production is getting pretty cool. I like Bjork, some of Tricky's stuff I heard was really neat, Zappa (big fan of Varese), Geggy Tah (first album), Stephane Grappelli, Bill Evans, Herbie-too much to list the rest of the jazz that's great, Ravel, when I saw the Oslo orchestra, I loved it (if I remember correctly, they played Mahler). Bjork uses some good old-school arrangers for lots of the strings on her albums....a lot better than many of the mediocre arrangements some bands do today with a quartet playing what was obviously written on a piano using all the "white keys" if any pianists know what I mean. Propellorheads--my favorite song on thier latest album was the last one (with the Jngle bros.). I heard it on a college radio show a while back and it was interesting. The whole Romantic period (including Debussy) is one of my favorite times for music. Samuel Barber, etc etc etc. I could go on but I'd love any suggestions on stuff to check out!!!!!! ( P.S. Like Led Zep, Some Beatles, Hendrix, etcetcetc tooo! From objects@ix14.ix.netcom.com Mon, 18 May 1998 16:04:33 -0400 Date: Mon, 18 May 1998 16:04:33 -0400 From: W. Keith Crowder objects@ix14.ix.netcom.com Subject: Bands/etc.?? Tom Waits has been known to use a theremin on occasion From objects@ix3.ix.netcom.com Mon, 18 May 1998 16:54:57 -0400 Date: Mon, 18 May 1998 16:54:57 -0400 From: W. Keith Crowder objects@ix3.ix.netcom.com Subject: Bands/etc.?? Tom Waits has been known to use a theremin on occasion From objects@ix4.ix.netcom.com Mon, 18 May 1998 16:57:32 -0400 Date: Mon, 18 May 1998 16:57:32 -0400 From: W. Keith Crowder objects@ix4.ix.netcom.com Subject: Bands/etc.?? Tom Waits has been known to use a theremin on occasion From objects@ix13.ix.netcom.com Mon, 18 May 1998 16:57:25 -0400 Date: Mon, 18 May 1998 16:57:25 -0400 From: W. Keith Crowder objects@ix13.ix.netcom.com Subject: Bands/etc.?? Tom Waits has been known to use a theremin on occasion From objects@ix5.ix.netcom.com Mon, 18 May 1998 17:06:20 -0400 Date: Mon, 18 May 1998 17:06:20 -0400 From: W. Keith Crowder objects@ix5.ix.netcom.com Subject: mailbox problems Over the past few months, I haven't been able to poston the levnet due to a number being added to my address. (Dave Ball can attest to this through the various emails I have sent him) However, I might just have found a way to beat it. I know it sounds stupid, but, I subscribed many times over. So, when the list server reads my address it reads whatever number is posted and correlates it with one of the various subscriptions I have. If you're reading this it worked. I hope this doesn't cause any problems with anyone if it does, let me know. K. Crowder From objects@ix20.ix.netcom.com Mon, 18 May 1998 17:12:23 -0400 Date: Mon, 18 May 1998 17:12:23 -0400 From: W. Keith Crowder objects@ix20.ix.netcom.com Subject: mailbox problems Over the past few months, I haven't been able to poston the levnet due to a number being added to my address. (Dave Ball can attest to this through the various emails I have sent him) However, I might just have found a way to beat it. I know it sounds stupid, but, I subscribed many times over. So, when the list server reads my address it reads whatever number is posted and correlates it with one of the various subscriptions I have. If you're reading this it worked. I hope this doesn't cause any problems with anyone if it does, let me know. K. Crowder From Ittycar@aol.com Mon, 18 May 1998 23:35:50 EDT Date: Mon, 18 May 1998 23:35:50 EDT From: Ittycar Ittycar@aol.com Subject: Bands/etc.?? I'm old, too, but that doesn't mean that everything I listen to is oldies, although the Beatles do figure prominently in my listening habits and Donovan is my all-time favorite. I'm a record collector in addition to a CD buyer and total eight-track fanatic, so here's what I've been listening to just in the past two weeks: Trio, Fastball, Fernando Ortega, Priscilla Herdman, Better Than Ezra, Rich Mullins, Third Tyme Out, Jean Jacques Perrey, Collin Raye, Clara Rockmore, Sugar Ray, Simon & Garfunkel, Will Smith, Third Eye Blind, Norman Greenbaum, Paula Cole, the Monkees, Led Zep, Tom Jones, Judy Collins, Nirvana, Hanson, the Spice Girls, Esquivel, Jars of Clay, John Fogerty, Cream, The Nylons, Chanticleer, Sinatra, Perry Como, George Strait, Elton John, Tone Loc, The Tony Rich Project, Des'Ree, the Dillards, John Lennon, Cherry- Poppin' Daddies, Moody Blues, local bands Einstein's Sister and The Kabalas, and of course Dave Dee, Dozy, Beaky, Mick and Tich. ittycar in Iowa From DavesTvox@webtv.net Mon, 18 May 1998 22:57:09 -0500 Date: Mon, 18 May 1998 22:57:09 -0500 From: David Miller DavesTvox@webtv.net Subject: Bands/etc.?? ittycar says, Hanson. Hehehehe! (Actually their production is quite good!) Now, if they could just learn to play their instruments. Dave M I'll gather the CDs piled up at work from last week and list here tomorrow. Strange list for sure. Stuff from Bix Beiderbecke to Palestrina! From DavesTvox@webtv.net Mon, 18 May 1998 23:04:46 -0500 Date: Mon, 18 May 1998 23:04:46 -0500 From: David Miller DavesTvox@webtv.net Subject: From a.m.m.t- contents of theremax kit --WebTV-Mail-584925050-12000 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Here's one from the newsgroup (way down there on this message). I don't know the answer. Maybe someone can help this person. Ya think maybe we ought to "advertise" Levnet on the newsgroup every once and a while? Just a thought. Dave M --WebTV-Mail-584925050-12000 Content-Type: MESSAGE/RFC822 Content-Transfer-Encoding: 7BIT From: Kristopher Lynch Newsgroups: alt.music.makers.theremin Subject: contents of theremax kit Date: Mon, 18 May 1998 22:44:26 -0400 Organization: Penn State University, Center for Academic Computing Lines: 6 Message-ID: <3560F20A.8F1408B@psu.edu> NNTP-Posting-Host: access-brts1p10.br.psu.edu Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit X-Mailer: Mozilla 4.04 [en] (Win95; I) does the theremax kit come with everything i need to build a theremin? how about the partial case kit? if i were to order that, what exactly else would i need to get? does it tell me - and does it also give instructions? --WebTV-Mail-584925050-12000-- From tpolk@prismnet.com Mon, 18 May 1998 23:10:59 -0500 Date: Mon, 18 May 1998 23:10:59 -0500 From: Tom Polk tpolk@prismnet.com Subject: Theremin & Tannerin For the first time, I've really attempted to practice my Etherwave. In a week I've learned to play quarter note scales and arpeggios with at least as good of a pitch accuracy as Sinatra, and I can almost do eighth note scales with that accuracy. BUT IT'S HARD TO GET IT RIGHT EVERY TIME! Having played the Tannerin before ever having worked with a good Theremin, I find that the Etherwave volume control is very hard for me to get crisp notes (you know, like "bup, bup, bup"). The Tannerin shines (or sings?) in both these aspects. Hitting the right note is almost as easy as sliding your finger along a piano keyboard until you find the right note with your eyes open. Pretty easy, huh? And the volume control is not the only way to start and stop a note. You can use it that way "a la Theremin", but you can get true staccato with the keying switch on the control knob. It's so simple, and it might not take too much to alter it's tone to include some pleasing harmonics. All this is to say that I now appreciate all the discussion about how the Theremin's challenge is part of its appeal. Onward and upward! From freenoise@yahoo.com Mon, 18 May 1998 21:11:56 -0700 (PDT) Date: Mon, 18 May 1998 21:11:56 -0700 (PDT) From: drew Version II freenoise@yahoo.com Subject: Bands, and then some Do any of you like Brian Eno? What about Steve Roach? what about the MOOG COOKBOOK? drew _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com From tpolk@prismnet.com Mon, 18 May 1998 23:22:14 -0500 Date: Mon, 18 May 1998 23:22:14 -0500 From: Tom Polk tpolk@prismnet.com Subject: Bands/etc.?? I like stuff with a musical line, imaginative orchestration; fat lyrics are icing on the cake. Later Leonard Cohen, later Beach Boys, Zappa, and anything Beatles. Also Schubert and Schumann piano music (Brendel and Uchida are gifted), lots of Mozart and Bach orchestral and organ music Also Cambridge Singers stuff Rutter does like Palestrina Also Kings Singers, Frederick Fennell wind ensemble stuff From AKarlok@aol.com Tue, 19 May 1998 01:52:28 EDT Date: Tue, 19 May 1998 01:52:28 EDT From: AKarlok AKarlok@aol.com Subject: Bands/etc.?? I went over to my CD player and got out the five CDS in it, guess I've must of been in a "rockin' mood" the other day, it had The Ramones, White Zombie,Dick Dale, The Shadows,and Ronnie Dawson, in it. In general, I have a wide range of music I listen to, almost is wide a range as a theremin, I'm a big fan of an Indian film composer named, Vijaya Anand, he uses an amazing mix of over the top midi, with traditional Indian instruments. I listen to Esquevel, Les Baxter, and Martin Denny. I love Stravinsky, Bartok, the Elliot Carter string guartets Hank Williams, Bob Wills, Ernest Tubb, and Hank Thompson. They'res a guy named Rodd Keith who was the king of song poem composers, you know those ads in the back of magazines and comic books, saying your songs put to music, he was the master of them. I even listen to music performed on an instrument called, the "Theremin", it's a pretty interesting instrument you guys should check it out. Actually, I buy anything I can find with theremin on it, it doesn't matter if I like the music or not,( if they have the good sence to use a theremin, I'll proply like "em) If I keep going through all the stuff I listen, I'll be boring you guys for hours, if anyone stayed on this long. Andy From PhilipMann@aol.com Tue, 19 May 1998 02:00:20 EDT Date: Tue, 19 May 1998 02:00:20 EDT From: PhilipMann PhilipMann@aol.com Subject: Bands/etc.?? Anyone who listens to my radio show, Babes In Quicksand, will know that my tastes in music spans all decades, styles, and genres. I only ask that the music in question has some imagination to it. This is why Electronic music, Psychedelic music, and Modern Orchestral music figures heavily into what I like musically, and consequently what shapes my playlist. Let's get serious, the fact that we all are into the Theremin, be we listeners or performers, is indicative that we have indeed outgrown the ordinary. For those of you who are curious, my show is on Thursday afternoons from 4-6 PM, Eastern Standard (or Daylight) Time. Here's a hyperlink for the radio station's homepage. WOWL Radio 91.7 FM There's a Real Audio icon to click, in order to hear the station's signal over the net. If the server won't work, E-mail the station and demand to be able to hear Babes In Quicksand. I played some Clara Rockmore cuts on last week's show, and will try to do some more this week. Maybe even a Hoffman cut, too? Tune in to find out. Sink-cerely Yours, Phil Mann From objects@ix17.ix.netcom.com Tue, 19 May 1998 02:18:49 -0400 Date: Tue, 19 May 1998 02:18:49 -0400 From: W. Keith Crowder objects@ix17.ix.netcom.com Subject: Bands/etc.?? Actually, I think Tom Waits uses a theremin on the Black Rider soundtrack. The music is from a play that he co-wrote and produced. From gbswift@telis.org Mon, 18 May 1998 22:47:30 -0800 Date: Mon, 18 May 1998 22:47:30 -0800 From: Gary B. Swift gbswift@telis.org Subject: Bands/etc.?? drew Version II wrote: > > Hey everyone-- I was just wondering what bands or musicians that > everyone on here likes to listen to? Past week: Aerosmith (Pump, Get a Grip), J.S.Bach, Mark Steven Brooks (Writhing to the Occasion), Cracker (Kerosene Hat), Hendrix, Samuel Hoffman (The Day the Earth Stood Still), Spencer Brewer/Nancy Rumbel/Eric Tingstad (Emerald), John Renbourn (The Nine Maidens), Mountain (Nantucket Sleighride), The Narada Collection... Wow. Welcome to my living room! =gary= From Planetgrog@aol.com Tue, 19 May 1998 03:28:53 EDT Date: Tue, 19 May 1998 03:28:53 EDT From: Planetgrog Planetgrog@aol.com Subject: Bands, and then some In a message dated 5/19/98 4:13:01 AM, you wrote: <> I love them!!!! They do a great show too!!!!! Pamelia From Planetgrog@aol.com Tue, 19 May 1998 03:33:00 EDT Date: Tue, 19 May 1998 03:33:00 EDT From: Planetgrog Planetgrog@aol.com Subject: Bands/etc.?? In a message dated 5/19/98 5:57:47 AM, you wrote: <> Isn't Anand's music on a compilation on the Luaka Bop label? I love Indian film music--it's fun to listen to, isn't it? That's so cool, you like Bartok too!!! From jhall@mailhost.empire.net Tue, 19 May 1998 08:37:22 +0000 Date: Tue, 19 May 1998 08:37:22 +0000 From: Jay Hall jhall@mailhost.empire.net Subject: new guy question After coming across a mention of the theramin at the Sweetwater Sound site, I started looking deeper and eventually found this list. Having never seen or heard a theramin "up close and personal", I'd like to ask for some feedback. I've seen the web sites for various manufacturers. What instrument would you recommend for the initial plunge (sure to open several fairly large cans of worms)? Any recommendations regarding kits? Many thanks! Jay Hall Hollis, NH From chall@totalsports.net Tue, 19 May 1998 09:36:28 -0400 Date: Tue, 19 May 1998 09:36:28 -0400 From: Charles Hall chall@totalsports.net Subject: Theremin & Tannerin Tom Polk wrote: > > Having played the Tannerin before ever having worked with a good > Theremin, I find that the Etherwave volume control is very hard for me > to get crisp notes (you know, like "bup, bup, bup"). What's a Tannerin? -- Charles Hall National Small Boat Calendar http://www.by-the-sea.com/events.html From chall@totalsports.net Tue, 19 May 1998 09:41:32 -0400 Date: Tue, 19 May 1998 09:41:32 -0400 From: Charles Hall chall@totalsports.net Subject: Question about Rozsa's "Spellbound" Robert F wrote: > > I would like to know which CD of Rozsa's "Spellbound" soundtrack music is > the best one to buy. I've been told that the RCA label by the National > Philarmonic Orchestra is not that good.. Yes, the RCA one has only a single 5:25 minute suite from Spellbound. I'm afraid the one you really want may be out of print. Stanyan produced a Spellbound CD a while back. Here are the specs: SPELLBOUND Stanyan STZ116-2 Dunhill Classics 8300 Tampa Avenue, Suite G Northridge, CA 91324 (818) 993-8822 Might be worth a phone call to see if it's still available. Good Luck! -- Charles Hall National Small Boat Calendar http://www.by-the-sea.com/events.html From objects@ix15.ix.netcom.com Tue, 19 May 1998 09:52:41 -0400 Date: Tue, 19 May 1998 09:52:41 -0400 From: W. Keith Crowder objects@ix15.ix.netcom.com Subject: Bands/etc.?? Actually, I think Tom Waits uses a theremin on the Black Rider soundtrack. The music is from a play that he co-wrote and produced. From daveb@juicerecords.com.au Tue, 19 May 1998 23:44:50 +0930 Date: Tue, 19 May 1998 23:44:50 +0930 From: Dave Barnett daveb@juicerecords.com.au Subject: my list of tunes I would like to hear more about the roland"D-Beam" system if anybody has seen it, what is their opinion? I saw it demonstrated on tv the other day, the pitch was slowed down but i think it was a cd. ignore this bit below if you are only interested in theremin related text... >Hey everyone-- I was just wondering what bands or musicians that >everyone on here likes to listen to? (they don't have to use a theremin!) Firstly it has to be on vinyl!!!! Juice Records (of course), a lot of old electro/hip hop..karl shulze, kraftwerk, Manuel Gottshing, Derrick May, Underground resistance, (a lot of Detroit Techno, it originated in Detroit in the mid 80's BTW not as the Mainstreem press would have you believe from the UK (electronica....blah blah blah) Chicago House, latryx, -Strings of life-Transmat, Detroit MI -Manuel Gottshing-e2e4 mailto:dave@multimedia.com.au Freelance Web Design Mobile: [0418 844 568] (08) 8396 6070 PO BOX 3197, Rundle Mall Adelaide, 5000, South Australia, Australia ============================== From dstork@ibm.net Tue, 19 May 1998 10:25:45 -0700 Date: Tue, 19 May 1998 10:25:45 -0700 From: Dave Stork dstork@ibm.net Subject: Varactors/Varicaps Peter wrote: > So here's three in series: the anti-series diodes _and_ the large fixed cap > for decoupling ? Or do you use the fixed cap for decoupling the taper of > the pot ? > The cap is used for bypassing the pot wiper to ground, and the resistor between the diodes and the cap is to prevent the cap from swamping out the capacitance of the diodes. I'll try to draw a simple schematic: Tuning voltage To osc. coil | | / \-/ Diode \ 100K --- Pot /---------|--/\/\/\-----| \ .01 = --- | uF | /-\ Diode Ground------|-------------| No coupling capacitor is needed unless there is a significant DC potential on the coil. -- Dave Stork Stork Audio dstork@ibm.net http://members.aol.com/StorkAudio From TheeXVirus@aol.com Tue, 19 May 1998 11:30:18 EDT Date: Tue, 19 May 1998 11:30:18 EDT From: TheeXVirus TheeXVirus@aol.com Subject: Bands, and then some Brian Eno is great. From MCINTYRE@pa.msu.edu Tue, 19 May 1998 11:38:58 -0400 Date: Tue, 19 May 1998 11:38:58 -0400 From: MCINTYRE@pa.msu.edu MCINTYRE@pa.msu.edu Subject: Howdy! Pamelia wrote: > Does anybody know if there is such a thing as touch sensitive effects pedals? > Not like a keyboard, but like, hmmm, how do I describe this....the pedal only > works if it senses your foot on it but when you take your foot off, it > bypasses the effect( instead of always clicking a bypass button thing because > that takes up time). If I understand the advertising correctly the new Morley pedals behave that way. There is also the Patch Of Shades manufactured by Emmett Chapman, developer of the Chapman Stick, that I think is a pressure sensitive pedal; i.e., the harder you press down, the greater the effect. John McIntyre Physics - Astronomy Domine Dept Michigan State University mcintyre@pa.msu.edu From AKarlok@aol.com Tue, 19 May 1998 11:54:45 EDT Date: Tue, 19 May 1998 11:54:45 EDT From: AKarlok AKarlok@aol.com Subject: Bands/etc.?? Anands CD "Dance Raja Dance" would be on my top ten absolute favorites. and yes it is on Luaka Bop Andy From chall@totalsports.net Tue, 19 May 1998 11:57:28 -0400 Date: Tue, 19 May 1998 11:57:28 -0400 From: Charles Hall chall@totalsports.net Subject: (no subject) help From AKarlok@aol.com Tue, 19 May 1998 12:07:46 EDT Date: Tue, 19 May 1998 12:07:46 EDT From: AKarlok AKarlok@aol.com Subject: new guy question If you never seen or heard one "up close, and personel", You may want to look into the sounds and the history of the theremin first. If your still want to take 'the plunge', the best one to get would proply be the Big Briar Etherwave kit (or built for you) Its inexpensive, sounds great, and if you want to biuld it yourself, fairly easy. The basics of the theremin, though can seem pretty easy, it's a very humbling instrument. Andy From Planetgrog@aol.com Tue, 19 May 1998 17:25:14 EDT Date: Tue, 19 May 1998 17:25:14 EDT From: Planetgrog Planetgrog@aol.com Subject: Bands/etc.?? In a message dated 5/19/98 3:58:28 PM, you wrote: << Anands CD "Dance Raja Dance" would be on my top ten absolute favorites. and yes it is on Luaka Bop Andy >> That's the label we're on!!! Great CD!!! The first song has been stuck in my head the past few weeks lately-- I love the sounds! Pamelia From Planetgrog@aol.com Tue, 19 May 1998 17:30:39 EDT Date: Tue, 19 May 1998 17:30:39 EDT From: Planetgrog Planetgrog@aol.com Subject: new guy question In a message dated 5/19/98 12:40:18 PM, you wrote: <> I agree with Andy- the Big Briar etherwave is great. It's perfect for traveling with too since it's small and easy to break down! If you get the kit, you can really have fun painting it or even putting the guts into something else. I've got to get the kit soon!! (I was intimidated by the thought of putting one together so I got one already made, but after seeing what my friend did with his and how easy it was, I'm eager to build one too!) From Planetgrog@aol.com Tue, 19 May 1998 17:32:09 EDT Date: Tue, 19 May 1998 17:32:09 EDT From: Planetgrog Planetgrog@aol.com Subject: Howdy! In a message dated 5/19/98 3:41:41 PM, you wrote: << Does anybody know if there is such a thing as touch sensitive effects pedals? > Not like a keyboard, but like, hmmm, how do I describe this....the pedal only > works if it senses your foot on it but when you take your foot off, it > bypasses the effect( instead of always clicking a bypass button thing because > that takes up time). If I understand the advertising correctly the new Morley pedals behave that way. There is also the Patch Of Shades manufactured by Emmett Chapman, developer of the Chapman Stick, that I think is a pressure sensitive pedal; i.e., the harder you press down, the greater the effect. >> Thanks, John!!!! I will be looking for them..... From tpolk@prismnet.com Tue, 19 May 1998 21:07:29 -0500 Date: Tue, 19 May 1998 21:07:29 -0500 From: Tom Polk tpolk@prismnet.com Subject: Theremin & Tannerin Charles Hall wrote: > What's a Tannerin? Tannerin is the name given to an electronic instrument whose sound is sometimes confused with the Theremin. Its most famous gig was the "Theremin" in the Beach Boy's "Good Vibrations." The Tannerin has almost a pure sinewave output. Portamento and exact pitches are achieved with a mechanical slider on a slide rule type scale with a "keyboard" drawn on it. Not only your ears, but also your eyes have exact reference points on a plane, not just in space as with the Theremin. The "keyboard" significantly facilitates achieving pitch accuracy. To see a picture of the original built by Paul Tanner and to hear short and longer clips of a new Tannerin's sound, try Dave Miller's home page, http://www.geocities.com/Vienna/4611/tannerin.html From DavesTvox@webtv.net Tue, 19 May 1998 22:20:01 -0500 Date: Tue, 19 May 1998 22:20:01 -0500 From: David Miller DavesTvox@webtv.net Subject: Bands/etc.?? "etc." for me will include composers and performers. Here's a list of stuff I have had going through my ears lately. >From last week: Dizzy Gillespie, "Dizzy's Diamonds" Levnet Compilation CD Beatles' "Revolver" Timofei Dokschitzer (trumpet- 2 recordings) Clara Rockmore, "Art of the Theremin" Pablo Casals, Bach Cello Suites Michala Petri (recorder) Bach Sonatas Bach Cantatas, #140, 143, 144, 145, and 146 Bach B minor Mass Ravel's "La Valse" TV's Greatest Hits, Vol. 2 Beethoven's "Waldstein" Sonata (piano) The Ed Wood movie soundtrack Holst, "The Planets" by Tomita Attilio Mineo, "Man in Space with Sounds" Rafeal Mendez (trumpet) Beach Boys' "Smiley Smile" Bix Beiderbecke (cornet) Palestrina's "Mass for Pentecost", Christ Church Cathedral Choir performing That was last week. Here is this week, so far: Harry Partch, "Revelation in the Courthouse Park. Beach Boys' Smiley Smiles (rerun) Penderecki's "St. Luke Passion" Christ Church Cathedral Choir, "Poulenc and Martin Masses" Shoenberg's "Erwartung", Anja Silja (soprano- does a splendid job!) In the car, while traveling about town: Music for ondes Martenot William Boyce Symphonies (complete) Hanson (hehehe) "Middle of Nowhere" Radio: NPR, Classic Rock (Led Zep, etc.), Oldies, Hip Hop (in that order) Cool funky tune I have been hearing over and over: Blair, "Have Fun, Go Mad". You may not be able to tell from my list, but I love a good funk groove. Blair has one, and they are coming to town this Sunday. May have to go see them. My top three favorite recordings. Those I could not live without: 1. Purcell's "Te Deum & Jubilate in D", Simon Preston conducting. 2. John Coltrane's "Live at Birdland". My very first "real jazz" album I got when I was 11 years old. 3. Miles Davis "Kind of Blue". What can I say. Dave M From freenoise@yahoo.com Tue, 19 May 1998 20:34:04 -0700 (PDT) Date: Tue, 19 May 1998 20:34:04 -0700 (PDT) From: drew Version II freenoise@yahoo.com Subject: D-Beam/ MC-505 In fact-- i just used the Roland MC-505 Groovebox today! A friend and I used it at the local music store- needless to say, i am VERY impressed. That box has it ALL! The D-Beam is basically an infared Beam that is projected upwards from the instrument-- you can see the little lense on top of the groove box. It can control pitch (Ad-lib), Tempo (turntable), and something else (i forgot.) Well, anyways, the way that you use the ad-lib feature is by moving your hand UP or DOWN over the beam, causing it to change notes-- it uses up to 24 pre-programmed scales to do so, so it's easy to hit the pitches. Well, it's impossible not to. Anyways, we had the groovebox on an Acid Jazz pattern, complete with synth horns, etc.== and i switched the d-beam over to ad-lib, and it happened to be set to use some sounds that were voices-- laughter, and some other stuff.= Anyways, the ad-lib that i did using it ended up sounding like a guy scatting over the acid jazz pattern-- VERY cool. And, it's easier to use than a theremin. Not to say that it could REPLACE a theremin, but, it's good on it's own. Anyways- i'll be getting that Mc-505 pretty soon-- I turn 18 in june, but instead of taking a chance at messing up MY credit with a payment plan, i'm gonna do it through my parents, that way, if something goes wrong, they can make the payment and i can pay them back. All of this by making $600 a month working at Chick Fil-a. Woo-hoo. drew (sorry to sound like i'm trying to endorse the MC-505, but, it's just SO AWESOME-- i'm really excited about it.) _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com From Planetgrog@aol.com Wed, 20 May 1998 00:08:16 EDT Date: Wed, 20 May 1998 00:08:16 EDT From: Planetgrog Planetgrog@aol.com Subject: D-Beam/ MC-505 Hey Drew! I tried the groovebox too and it's fun. I like some of the drum sounds in there (808 of course!). I didn't have time in the store to check out the D-beam *sigh* but maybe next time. I usually hate going to music stores but that's a fun excuse. The preset scales thing you talked about sounds like what the ethervox does when midi-ed up (but I haven't really gotten into midi-ing yet). I've used the ethervox midi once on the roland xp-80 on one of its loops and used the theremin to control the tempo and pitch of the loops. Roland's come out with some great stuff lately, huh? Like the VS880 & the VK-7 organ (that's great for the road, sounds the best of all the faux hammond organs out there but nothing beats the real thing on recording) O.K. enough roland endorsement!!!! Levnetters, here's a question: What instruments would make a dream trio ? (including a theremin) One more.............. What would you hear them playing? OK, last one...................................... Who'd be playing what instrument? From AKarlok@aol.com Wed, 20 May 1998 01:15:46 EDT Date: Wed, 20 May 1998 01:15:46 EDT From: AKarlok AKarlok@aol.com Subject: Bands/etc.?? Pamelia, I might of missed it early on, but what's the name of your band ? Andy From John_Mitchell@ascend.com Tue, 19 May 1998 22:17:11 -0700 Date: Tue, 19 May 1998 22:17:11 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Moog Cookbook >what about the MOOG COOKBOOK? This is a band? If memory serves me (and it seldom does), Bob Moog's (then) wife Sherleigh, if that's how you spell it, actually did publish a Moog cookbook. Ah, the good ol' days... johnm From Planetgrog@aol.com Wed, 20 May 1998 01:35:58 EDT Date: Wed, 20 May 1998 01:35:58 EDT From: Planetgrog Planetgrog@aol.com Subject: Moog Cookbook In a message dated 5/19/98 9:34:47 PM, you wrote: <> Yup! It's a band too! Fun band! From Planetgrog@aol.com Wed, 20 May 1998 01:41:13 EDT Date: Wed, 20 May 1998 01:41:13 EDT From: Planetgrog Planetgrog@aol.com Subject: Bands/etc.?? I'm in Geggy Tah. (a baby member!) I do jazz gigs when I have time and when we're done with the album I'll be playing out (mostly theremin gigs) and teaching if I have the time. From AKarlok@aol.com Wed, 20 May 1998 01:45:59 EDT Date: Wed, 20 May 1998 01:45:59 EDT From: AKarlok AKarlok@aol.com Subject: Moog Cookbook They need a theremin. Andy From Planetgrog@aol.com Wed, 20 May 1998 01:50:10 EDT Date: Wed, 20 May 1998 01:50:10 EDT From: Planetgrog Planetgrog@aol.com Subject: Moog Cookbook In a message dated 5/19/98 9:49:25 PM, you wrote: <> That would definitely top it off! From kparker@reno.modernsolutions.com Wed, 20 May 1998 00:15:14 -0700 (PDT) Date: Wed, 20 May 1998 00:15:14 -0700 (PDT) From: Kelly Parker kparker@reno.modernsolutions.com Subject: what this thereminist is listening to lately: Cannibal Corpse "Tomb of the Mutilated" Soundtrack to "Kama Sutra" John Cage "Cartridge Music" misc. Lalo Schifrin Tool practice to Yma Sumac mambo, jah. Kelly Parker From objects@ix20.ix.netcom.com Wed, 20 May 1998 09:11:21 -0400 Date: Wed, 20 May 1998 09:11:21 -0400 From: W. Keith Crowder objects@ix20.ix.netcom.com Subject: Levnet posting problems >Subj: mailbox problems >Keith, >I too have tried on several occasions to post to LevNet but they never appear >- nor do they come back as an invalid address. Can you tell me what you did >or Dave, can you confirm my address on the list? > - Randy Ralston >626/814-5823 Randy, I had been "watching" the levnet since it was formed, But, was unable to respond to any post due to the addition of numbers to my address by netcom. ( ex. objects@ix.netcom.com became objects@ix13.ix.netcom.com) They responded to my inquiries with the following: *********************** Netcom utilizes many different servers for mail. The numbers that are >appearing in the header of the message that the recipients are seeing, is >the number of the particular mail server that relayed your message. For >example: > > 1. Message #1 may be relayed through mail server #15 > 2. Message #2 may be relayed through mail server #11 > >This process is normal and most Internet Service Providers have many >different servers that relay mail to insure a quick delivery. >The mail clients that the recipients of your messages are using, look at the >header of the message, instead of the "reply to" address information. >Unless they change mail clients, and the listserv looks at the "reply to" >address, they will need to manually type in the actual email address. **************************************** In an effort to thwart this, I tried resubscribing to the group and found that the server perceived me as a different person. Different number in the address, different person. At this point, it was like russian roulette, I would post a message and hope it would go through one of the mail servers that was registered. After many failed attempts, the post hit one of the numbers and was put on the net. I then kept subscribing until I had about ten different "aliases" this made it a little easier to play the roulette. From olivia@christa.unh.edu Wed, 20 May 1998 09:42:57 -0400 (EDT) Date: Wed, 20 May 1998 09:42:57 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: RCA acting funny Dear group, My husband and I moved recently, and (obviously) the RCA theremin moved with us. I found a beautiful spot for it, in an alcove between the living room and my new "music room." The problem is that for some reason the volume stays very low. It doesn't get the loud, full sound it should (and did at our other place). What could be wrong? Could the make-up of the wall itself in the alcove be somehow interfering the sound? What kinds of remedies or tests should I try? The volume antenna in particular is right up against the wall, and also right next to a classical column (not original to the house, but bought by the landlady at Home Quarters!). Please don't suggest that I move the instrument around, because, as anyone who has handled an RCA knows, they're heavy! Even legless, as mine is. Perhaps I could drape different materials between the antenna and the wall? If so, what should I try? Doctor, can the patient be saved? Olivia From JBernhardt@nefn.com Wed, 20 May 1998 09:43:57 -0400 Date: Wed, 20 May 1998 09:43:57 -0400 From: Jon Bernhardt JBernhardt@nefn.com Subject: Theremins in the press I didn't post this yesterday because I'm on digest and I figured that someone else would have *definitely* beat me to it: There's an article on the WiredNews website about theremins that quotes Art Harrison, Bob Sexton, Doug Forbes, Dave Ball, Dave Miller, Charlie Lester, and yours truly. It's at: http://www.wired.com/news/news/wiredview/story/12328.html At least, that's where it was yesterday. If people can't find it, let me know and I'll post it to levnet. Also, NPR (that's National Public Radio for you foreigners) has a nationally syndicated program called "Wait, Wait, Don't Tell Me". It's a quiz show that asks three panelists to answer various questions about the week's events. Last Saturday, one of the questions was "Clara Rockmore died this past week. She was known as the world's greatest virtuosa on what instrument?" The panelist to whom the question was asked had no idea. The other two panelists then shouted out, in unison: Panelist # 2: Musical Saw! Panelist # 3: Theremin! This was followed by a very brief description of the instrument, as well as the all too familiar "and it was used by the Beach Boys on Good Vibrations!" The producer of the show is actually a very good friend of mine. I'll be sending him a correction. I'll let you all know if he does anything with it. Oh yeah, bands I like: Bevis Frond, Neutral Milk Hotel, Buzzcocks, Wipers, Barbara Manning, Notwist, The Ex, Dog Faced Hermans, Spaceheads, Guided By Voices, Helium, Syrup USA, Green Pajamas, Velvet Underground, and of course.... Lothars! I could go on forever.... ~Jon |--------------------------------------------------------------------| The Lothars ...... Three Theremins ...... One Guitar ...... All Heart The Lothars home page: http://web.mit.edu/jonb/www/bands/lothars.html From olivia@christa.unh.edu Wed, 20 May 1998 09:47:45 -0400 (EDT) Date: Wed, 20 May 1998 09:47:45 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Bands/etc.?? I listen to: Clara Rockmore, Lydia Kavina, Youseff Yancy, Eric Ross and... the Lothars! (oh, and that far-out Beethoven guy and all his cronies...) Olivia From JBernhardt@nefn.com Wed, 20 May 1998 09:58:27 -0400 Date: Wed, 20 May 1998 09:58:27 -0400 From: Jon Bernhardt JBernhardt@nefn.com Subject: Blatent Promotional Message One other thing: We (The Lothars) have exactly one t-shirt left of the original "Meet Lothars" design. The size is Large. The image is a parody of "Meet The Beatles" with theremins and a guitar in place of the Beatles' faces. To see the design, you can visit the Lothars web site (URL below) and jump to the "Merch" page. $15 postpaid in the USA. If you're interested, email me personally (i.e. don't reply to Levnet) and I'll give you more info. I can also email an image to anyone who doesn't have web access, if that's easier. "As seen in the Big Briar Newsletter!" ~Jon |--------------------------------------------------------------------| The Lothars ...... Three Theremins ...... One Guitar ...... All Heart The Lothars home page: http://web.mit.edu/jonb/www/bands/lothars.html From PhilipMann@aol.com Wed, 20 May 1998 11:21:30 EDT Date: Wed, 20 May 1998 11:21:30 EDT From: PhilipMann PhilipMann@aol.com Subject: Theremin & Tannerin Hmmmm, sounds like the Tannerin was inspired by the Ondes Martenot, which reminds me, isn't it about time that we had a MIDI controller that works this way? Like the Moog Ribbon Controller of yesteryear, Hmmmmm? Philip S. Mann From AKarlok@aol.com Wed, 20 May 1998 12:50:15 EDT Date: Wed, 20 May 1998 12:50:15 EDT From: AKarlok AKarlok@aol.com Subject: what I'd like to hear.... Of hand, i think I'd love to hear the entire Antonio Carlos Jobim songbook performed with theremin, accostic guitar and percussion, or like the Stan Getz versions only with theremin instead of Stan Andy From jasonba@microsoft.com Wed, 20 May 1998 09:54:17 -0700 Date: Wed, 20 May 1998 09:54:17 -0700 From: Jason Barile jasonba@microsoft.com Subject: Moog Cookbook They might have a theremin tie... A band called the Eels has a small note on their liner saying they only use "Uli Nomi" theremins. I think Uli Nomi is the pseudoname for one of the Moog Cookbook members. -Jason -----Original Message----- From: Planetgrog [mailto:Planetgrog@aol.com] Sent: Tuesday, May 19, 1998 10:51 PM To: Multiple recipients of list Subject: Re: Re: Re: Moog Cookbook In a message dated 5/19/98 9:49:25 PM, you wrote: <> That would definitely top it off! From freenoise@yahoo.com Wed, 20 May 1998 10:02:49 -0700 (PDT) Date: Wed, 20 May 1998 10:02:49 -0700 (PDT) From: drew Version II freenoise@yahoo.com Subject: what is the moog cookbook? The Moog Cookbook is 2 guys ( i believe) that play moogs and make all-moog versions of famous songs. They have 2 albums (i believe) , the first featuring "alternative" songs like "Black Hole Sun", "Smells like Teen Spirit", and "buddy holly" and the second album has classic rock songs- "Sweet Home Alabama", etc. drew _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com From lorelei@pdi.com Wed, 20 May 1998 10:36:38 -0700 (PDT) Date: Wed, 20 May 1998 10:36:38 -0700 (PDT) From: Lorelei David lorelei@pdi.com Subject: Uh oh... Hey there padres in portamento - I have a slight problem and I'm turning to you for help... I currently own a Theremax which I enjoy playing. I recently borrowed an Etherwave from a friend of mine and I think I'm in love. What a great instrument! Ok... now the problem - the pitch control doesn't seem to adjust the pitch! I don't want to alarm my friend until I research this a little more thoroughly. I was hoping maybe one of you wonderful folks could help me out. Am I missing something? There's only four knobs on the darn thing - is it possible I have a wire loose? I'd hate to take it apart... Gah, ---Lorelei From Planetgrog@aol.com Wed, 20 May 1998 13:51:48 EDT Date: Wed, 20 May 1998 13:51:48 EDT From: Planetgrog Planetgrog@aol.com Subject: Uh oh... Hey, Lorelei! There's only four knobs but you've tried going from the extreme opposites of the pitch knob, right? Was it not broken before? From AKarlok@aol.com Wed, 20 May 1998 13:52:25 EDT Date: Wed, 20 May 1998 13:52:25 EDT From: AKarlok AKarlok@aol.com Subject: Uh oh... You may have to open it up, and on the circuit board you'll see three main adjusting screws, try tuning the one far right, just alittle bit and see if that does anything Andy From dball@esper.com Wed, 20 May 1998 14:32:45 -0400 Date: Wed, 20 May 1998 14:32:45 -0400 From: David Ball dball@esper.com Subject: Fw: Moog Cookbook--bounced message Here's one that bounced: >From: drew Version II >Subject: what is the moog cookbook? >To: levnet@korrnet.org >MIME-Version: 1.0 >Content-Type: text/plain; charset=us-ascii > >The Moog Cookbook is 2 guys ( i believe) that play moogs and make >all-moog versions of famous songs. They have 2 albums (i believe) , >the first featuring "alternative" songs like "Black Hole Sun", "Smells >like Teen Spirit", and "buddy holly" and the second album has classic >rock songs- "Sweet Home Alabama", etc. > >drew >_________________________________________________________ >DO YOU YAHOO!? >Get your free @yahoo.com address at http://mail.yahoo.com From tpolk@prismnet.com Wed, 20 May 1998 12:53:31 -0700 Date: Wed, 20 May 1998 12:53:31 -0700 From: Tom Polk tpolk@prismnet.com Subject: RCA acting funny Olivia Mattis wrote: >The volume antenna in particular is right up against the wall... I hope this sheds some light. My Etherwave is in a room where if the volume antenna is close the wall, the volume drops substantially. Maybe my wall offers enough capacitance to have an effect like my hand. Notice that I did not suggest that you move your Theremin, but if you wish to draw that conclusion... From rewelch@earthlink.net Wed, 20 May 1998 13:37:22 -0400 Date: Wed, 20 May 1998 13:37:22 -0400 From: Reid Welch rewelch@earthlink.net Subject: RCA acting funny Hi Olivia, There's probably metal in the wall or the column. Try pulling the RCA away from surrounding objests and see if your volume doesn't return. If that doesn't do the trick I would be pleased to restore the electronics. Reid >-----Original Message----- >From: levnet@korrnet.org [mailto:levnet@korrnet.org]On Behalf Of Olivia >Mattis >Sent: Wednesday, May 20, 1998 9:59 AM >To: Multiple recipients of list >Subject: RCA acting funny > > >Dear group, > >My husband and I moved recently, and (obviously) the RCA theremin moved >with us. I found a beautiful spot for it, in an alcove between the living >room and my new "music room." The problem is that for some reason the >volume stays very low. It doesn't get the loud, full sound it should (and >did at our other place). > >What could be wrong? Could the make-up of the wall itself in the >alcove be >somehow interfering the sound? What kinds of remedies or tests should I >try? The volume antenna in particular is right up against the wall, and >also right next to a classical column (not original to the house, but >bought by the landlady at Home Quarters!). > >Please don't suggest that I move the instrument around, because, >as anyone >who has handled an RCA knows, they're heavy! Even legless, as mine is. >Perhaps I could drape different materials between the antenna and the >wall? If so, what should I try? > >Doctor, can the patient be saved? > >Olivia > > From jmsnyder@earthlink.net Wed, 20 May 1998 13:58:03 -0400 Date: Wed, 20 May 1998 13:58:03 -0400 From: John Snyder jmsnyder@earthlink.net Subject: RCA acting funny Greetings, Olivia! Sorry to hear of your RCA problem---sounds like a perfect location for it, otherwise. I have had a fair amount of experience with my RCA in different physical locations in different performance situations, etc. My guess is there is electrical wiring or plumbing or electrical wire casing, etc. in that wall right next to the volume loop. Contrary to your request not to suggest moving it, I would at least try that....I know, I know, that thing is VERY heavy! Could, of course, also be that in moving it, the ux120 or 99 or whatever you have for the volume control circuit got jostled and damaged internally, or maybe something else came loose...maybe just take a carefull look inside...Well, you've probably already thought of such things, but if not, hey, it's worth a try, but my guess is there is something in the wall interfering with the correct operation of that volume control.....other thoughts, anybody? Best, John At 09:58 AM 5/20/98 -0400, you wrote: >Dear group, > >My husband and I moved recently, and (obviously) the RCA theremin moved >with us. I found a beautiful spot for it, in an alcove between the living >room and my new "music room." The problem is that for some reason the >volume stays very low. It doesn't get the loud, full sound it should (and >did at our other place). > >What could be wrong? Could the make-up of the wall itself in the alcove be >somehow interfering the sound? What kinds of remedies or tests should I >try? The volume antenna in particular is right up against the wall, and >also right next to a classical column (not original to the house, but >bought by the landlady at Home Quarters!). > >Please don't suggest that I move the instrument around, because, as anyone >who has handled an RCA knows, they're heavy! Even legless, as mine is. >Perhaps I could drape different materials between the antenna and the >wall? If so, what should I try? > >Doctor, can the patient be saved? > >Olivia > > > From DavesTvox@webtv.net Wed, 20 May 1998 23:03:30 -0500 Date: Wed, 20 May 1998 23:03:30 -0500 From: David Miller DavesTvox@webtv.net Subject: trying to bulid a theremin (forwarded from a.m.m.t.) --WebTV-Mail-1157187889-2194 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Found this in the newsgroup. Can anyone help this guy out? Dave M --WebTV-Mail-1157187889-2194 Content-Type: MESSAGE/RFC822 Content-Transfer-Encoding: 7BIT From: j20333@aol.com (J20333) Newsgroups: alt.music.makers.theremin Subject: trying to bulid a theremin Lines: 7 Message-ID: <1998052103031900.XAA19424@ladder01.news.aol.com> NNTP-Posting-Host: ladder01.news.aol.com X-Admin: news@aol.com Date: 21 May 1998 03:03:19 GMT Organization: AOL http://www.aol.com i tried to make a theremin off of the scamatic at http://www.nashville.net/~theremin/files/AsciiTheremin.txt , but i dont understand what cutting the shield connectors off the 2n1264's means. also i used nte 100 and 102 transistors because of their availabilty . please help with some insight, Jim --WebTV-Mail-1157187889-2194-- From dstork@ibm.net Wed, 20 May 1998 23:53:16 -0700 Date: Wed, 20 May 1998 23:53:16 -0700 From: Dave Stork dstork@ibm.net Subject: Bands, dream trios and so on As for me, lately I've been listening to: Ramones Midnight Oil Coltrane ("Blue Train" Album) Richard Thompson Motorhead Bob Wills and the Texas Playboys Buddy Holly Soundgarden Bunch of old punk stuff from my youth Pamelia wrote: > Levnetters, here's a question: What instruments would make a dream trio ? > (including a theremin) A pipe organ, a theremin, and a broken (oscillating audibly) guitar amp. > One more.............. What would you hear them playing? > Something by Charles Ives. > OK, last one...................................... Who'd be playing what > instrument? > I'd say Clara and Virgil Fox, but they're not among us any more. So, I guess Anthony Newman and whomever happens to be the best theremin player these days. I volunteer to man the broken guitar amp. -- Dave Stork Stork Audio dstork@ibm.net http://members.aol.com/StorkAudio From hugh.brackett@usa.net Thu, 21 May 1998 00:50:02 -0400 Date: Thu, 21 May 1998 00:50:02 -0400 From: Hugh Brackett hugh.brackett@usa.net Subject: RCA acting funny Hmmm. In an alcove, you say. Outside corners of walls usually have a metal bead in them. I'd expect this to play heck with a Theremin if the antenna was only inches away. I have to agree with the others who have suggested hauling your RCA out of the alcove to check if the problem goes away. If metal in the wall is the problem, there isn't much you can do but relocate the instrument (short of tearing into the wall). Perhaps you could put wheels on whatever you are using for a base and roll it out to play it? Olivia Mattis wrote: Dear group, My husband and I moved recently, and (obviously) the RCA theremin moved with us. I found a beautiful spot for it, in an alcove between the living room and my new "music room." The problem is that for some reason the volume stays very low. It doesn't get the loud, full sound it should (and did at our other place). What could be wrong? Could the make-up of the wall itself in the alcove be somehow interfering the sound? What kinds of remedies or tests should I try? The volume antenna in particular is right up against the wall, and also right next to a classical column (not original to the house, but bought by the landlady at Home Quarters!). Please don't suggest that I move the instrument around, because, as anyone who has handled an RCA knows, they're heavy! Even legless, as mine is. Perhaps I could drape different materials between the antenna and the wall? If so, what should I try? Doctor, can the patient be saved? Olivia From dstork@ibm.net Thu, 21 May 1998 00:07:07 -0700 Date: Thu, 21 May 1998 00:07:07 -0700 From: Dave Stork dstork@ibm.net Subject: RCA acting funny Olivia wrote: > The volume antenna in particular is right up against the wall, and > also right next to a classical column Well, there's your problem! I don't think it even matters much if there's conduit behind the wall, the color of the paint, or whatever. Something as big as a wall is bound to affect a circuit designed to respond to the relatively miniscule effects of the human hand. > Please don't suggest that I move the instrument around, because, as anyone > who has handled an RCA knows, they're heavy! Even legless, as mine is. > Perhaps I could drape different materials between the antenna and the > wall? If so, what should I try? That's not going to help. You really need to get that volume antenna away from the wall. Here's an anecdote. I took my tube theremin to a friend's house for a "jam" one night. I didn't have a stand for it, so I sat it on top of a speaker cabinet. To my surprise, I could barely get any sound out of it unless I detuned the volume circuit to the point of non-functional. I eventually realized that the wooden cabinet sitting right under and parallel to the vol. antenna was causing the problem. I pushed the theremin to the left so that the vol. antenna was just hanging off the side, and not near to the cabinet. WOOOOO! Sound came blasting forth. -- Dave Stork Stork Audio dstork@ibm.net http://members.aol.com/StorkAudio From hugh.brackett@usa.net Thu, 21 May 1998 01:17:36 -0400 Date: Thu, 21 May 1998 01:17:36 -0400 From: Hugh Brackett hugh.brackett@usa.net Subject: Theremin Tie (was: Re: Moog Cookbook) I was just reading an article the other day about instrument controllers that were incorporated into clothing. A Theremin Tie would be great. You could use your belt buckle for the volume antenna... Jason Barile wrote: They might have a theremin tie... From royber@total.net Thu, 21 May 1998 07:15:36 -0500 Date: Thu, 21 May 1998 07:15:36 -0500 From: Bernard Roy royber@total.net Subject: RCA acting funny >Olivia Mattis wrote: > >>The volume antenna in particular is right up against the wall... > Olivia Dear, Gird your sylph-like loins and move the RCA away from the wall! You've changed the threshold of the volume sensitivity and throttled the instrument. Your RCA is one of my favorite vintage theremins, and it can really wail when it wants. I just got the Hoffman theremin back from the theremin doctor (tube wizard Art Snow) and it is awesome! After some careful adjustments and the replacement of a capacitor which has been leaking since the 1960's, the instrument sounds just like it did in SPELLBOUND. Like your RCA, it has enormous power and resonance BUT YOU CAN'T PLAY IT NEAR A WALL. You can't play it near ANYTHING, and as you know, an Etherwave won't work at all if it is within twenty feet of an RCA. Anything new on the release date of the Lydia Kavina CD? From royber@total.net Thu, 21 May 1998 07:15:45 -0500 Date: Thu, 21 May 1998 07:15:45 -0500 From: Bernard Roy royber@total.net Subject: Theremin & Tannerin Philip Mann wrote: >Hmmmm, sounds like the Tannerin was inspired by the Ondes Martenot, which >reminds me, isn't it about time that we had a MIDI controller that works this >way? Like the Moog Ribbon Controller of yesteryear, Hmmmmm? > You're right Philip, the Tannerin IS ondes-like. I don't want to ruffle any feathers, or put the Tannerin down in any way (especially since I appear to be the person who gave it its name) but as a solo instrument I find it cold, cold, cold, LIKE THE ONDES MARTENOT. With the exception of the theremin when it is skillfully played, synthesized sounds tend to be soul-less. (I'm not talking about samples, which are basically recordings of acoustic sounds). As for the MIDI tannerin, or MIDI ribbon controller, those of us who have MIDI Ethervoxes are still trying to figure out what the heck we're going to do with all the incredible things IT does. From objects@ix5.ix.netcom.com Thu, 21 May 1998 09:01:05 -0400 Date: Thu, 21 May 1998 09:01:05 -0400 From: W. Keith Crowder objects@ix5.ix.netcom.com Subject: newbee, sorta Fellow thereminists, I'm relatively new to the posting side of the levnet. As you have read, I had some problems with the mail server and couldn't post, but, hopefully that is over now. For me, this group has be an inexhaustable source of information. Thanks to all who make it great. A little of my history ..... I've been playing the theremin for a few years. I bought and built one of the first theremax kits that came out. It was a good experience, full of modifications. Then I heard the Etherwave and fell in love. The Tmax was sold and Big Briar was called. Subsequently, the new Etherwave was borrowed (stolen) and never returned. So, I bought another, which I have had ever since. I play in public at least once a week and people are really receptive. As far as music I play... a lot of standards from the 30's, 40's, to the present. Examples are Moon River, Shanandoah, As time goes by, Brazil, Star dust, Etc... Also some Johnny Cash (country theremin) , Kinks, Led Zep and Roberta Flack with some guitar friends of mine. Music I listen to.... Bartok, Mozart, Beethoven, Mahler, Vivaldi, Bach, Ravel, Casals, Segova, Rockmore, Jobim, John Mclaughlin, Johnny Adams, Getz, Gilberto, Tom Waits, Rachel Ferrell, Louis Prima, Cugat, Esquivel, The Jolly Boys, Traffic, ELP, War, Dick Dale, Jazz & Blues from the 20's , the list goes on and on...... That's about it, hope it wasn't to boring. I'll be reading you. Keit h Crowder From objects@ix18.ix.netcom.com Thu, 21 May 1998 09:22:33 -0400 Date: Thu, 21 May 1998 09:22:33 -0400 From: W. Keith Crowder objects@ix18.ix.netcom.com Subject: newbee, sorta Fellow thereminists, I'm relatively new to the posting side of the levnet. As you have read, I had some problems with the mail server and couldn't post, but, hopefully that is over now. For me, this group has be an inexhaustable source of information. Thanks to all who make it great. A little of my history ..... I've been playing the theremin for a few years. I bought and built one of the first theremax kits that came out. It was a good experience, full of modifications. Then I heard the Etherwave and fell in love. The Tmax was sold and Big Briar was called. Subsequently, the new Etherwave was borrowed (stolen) and never returned. So, I bought another, which I have had ever since. I play in public at least once a week and people are really receptive. As far as music I play... a lot of standards from the 30's, 40's, to the present. Examples are Moon River, Shanandoah, As time goes by, Brazil, Star dust, Etc... Also some Johnny Cash (country theremin) , Kinks, Led Zep and Roberta Flack with some guitar friends of mine. Music I listen to.... Bartok, Mozart, Beethoven, Mahler, Vivaldi, Bach, Ravel, Casals, Segova, Rockmore, Jobim, John Mclaughlin, Johnny Adams, Getz, Gilberto, Tom Waits, Rachel Ferrell, Louis Prima, Cugat, Esquivel, The Jolly Boys, Traffic, ELP, War, Dick Dale, Jazz & Blues from the 20's , the list goes on and on...... That's about it, hope it wasn't to boring. I'll be reading you. Keit h Crowder From olivia@christa.unh.edu Thu, 21 May 1998 09:58:31 -0400 (EDT) Date: Thu, 21 May 1998 09:58:31 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: RCA acting funny Dear group, This is a wonderful community! Thanks to all those who responded. In particular, Dave Stork seems to have hit it on the head. My instrument is seated on a metal lateral file. OBVIOUSLY that's the principal culprit. Duh! Hmmm... Just when I thought I had finished rearranging the furniture... Olivia On Thu, 21 May 1998, Dave Stork wrote: > > The volume antenna in particular is right up against the wall, and > > also right next to a classical column > > Well, there's your problem! I don't think it even matters much if > there's conduit behind the wall, the color of the paint, or whatever. > Something as big as a wall is bound to affect a circuit designed to > respond to the relatively miniscule effects of the human hand. > > > Please don't suggest that I move the instrument around, because, as anyone > > who has handled an RCA knows, they're heavy! Even legless, as mine is. > > Perhaps I could drape different materials between the antenna and the > > wall? If so, what should I try? > > That's not going to help. You really need to get that volume antenna > away from the wall. > > Here's an anecdote. I took my tube theremin to a friend's house for a > "jam" one night. I didn't have a stand for it, so I sat it on top of a > speaker cabinet. To my surprise, I could barely get any sound out of it > unless I detuned the volume circuit to the point of non-functional. > I eventually realized that the wooden cabinet sitting right under and > parallel to the vol. antenna was causing the problem. I pushed the > theremin to the left so that the vol. antenna was just hanging off the > side, and not near to the cabinet. WOOOOO! Sound came blasting forth. > -- > Dave Stork > Stork Audio > dstork@ibm.net > http://members.aol.com/StorkAudio > From objects@ix20.ix.netcom.com Thu, 21 May 1998 10:03:07 -0400 Date: Thu, 21 May 1998 10:03:07 -0400 From: W. Keith Crowder objects@ix20.ix.netcom.com Subject: Music those of us who have > MIDI Ethervoxes are still trying to figure out what the heck we're going to > do with all the incredible things IT does. From pluto@4link.net Thu, 21 May 1998 11:06:24 -0700 Date: Thu, 21 May 1998 11:06:24 -0700 From: Ross Marshall pluto@4link.net Subject: Music Hey Keith, try some Beau Hunks Little rascals. ROSS MARSHALL W. Keith Crowder wrote: > > From pluto@4link.net Thu, 21 May 1998 11:25:24 -0700 Date: Thu, 21 May 1998 11:25:24 -0700 From: Ross Marshall pluto@4link.net Subject: Real Newbie Charles; Nice to see you going at the theremin. I started 2 1/2 years ago. You might try going by ear. I have some videos I did on theremin playing. The list is as follows. Will let everyone have them for a nice donation. Everyone knows how much a video costs to make and dub and mail. Charles; send me you address and I'll send a theremin video tape. I have the last one filled with everyone's playing, including mine. No Clara or Lydia. They belong to Moog and Martin. I am at 1-818-504-4135 Ross Marshall ............................ Hello everyone. I have been searching and studying new pieces of music for accompaniment. Have chosen to use medium pieces to practice in developing the slight accents and smoothies needed to get through the pieces. I have found these to be great for those who just can't seem to hold a note without souring it, when following Clara's CD. To compliment Clara's study pieces, try these. Slowest to fast in order: Mostly piano with little accompaniments. Schumann: traumerei (Kinderszenen, Op. 15 No. 7) [Too slow for me. Just don't like the piece.] Beethoven: Minuet in C. [This is a nice slow piece that anyone can learn. Good to develop one's smooth transition 'slowly' from note to note. Has a slight volume hand waver. Slow up and down movement. ] Brahms: Waltz in A flat, Op. 39 No.15. [A nice slow one worth trying. Great control practice in being smooth.] Macdowell: To A Wild Rose (Woodland Sketches, Op.51 No.1) [This is also a nice slow one. Try this one to develop one's slowness and smoothness as you go from simple note to note. Try to tune the note-sound way down along the way for that mild accent.] Chaminade: Automne, Op.35 No.2 Here is another slow one: easy listening. Be gentle with getting in and out of the notes. Otherwise you'll butcher it.] Dvorak: Humoresque, Op.101 No.7 [ Lydia's favorite. Try this one piano version. It's hard, but it will teach you to get to those notes quick, with slight volume break between notes. In some respects, it sounds like a bumblebee would do great as he bounces along from flower to flower. Clara talked about flowers, didn't she? Or, was it Molasses? This one has many pits to fall in. But the 'test' is worth it. Another one good for causing you to play other pieces better, such as the above slow ones.] Beethoven: Bagatelle No. 25, G. Fur Elise. [Nice to practice on and meditate. Ignore the hands and details and just FLOW with it. Never mind the sour hits or blurts.] Rubinstein: Melody in F, Op.3 No.1 [My FAVORITE on this CD. Another piece that 'could' sound as if a bumble bee was playing. Follow closely and don't loose ear to the sound. Encrease and decrease volume slowly. Rarely turn it off. Try bending from note to note as you try to vibrate the note like a bee's wings. Let it buzz. Good for fingering technique development. Last, but not least, the 'fast' one: Sense it was on the CD. I tried it. Mozart: Sonata in A, K.331-III: Alla turca (Allegretto). [For those who like twisting and breaking fingers practicing fast pitch control, as well as maybe ruining the volume hand wrist! A 'ball' on the end of a rubber stick?! Just keep trying. It will at least cause you to play 'other' pieces much better. It's fun to try anyway. I can now play bits and pieces of this one, even long stretches in some parts, whereas before, I freaked out the first time I tried. I felt like Data on Star Treck N.G. having lost his balance. Sometimes you should just jump in and make all the mistakes to just get the fingers GOING! You can worry about exactness in notes later. Just get the rhythm down first. This piece will thrill you, but IF you criticize yourself too much, you'll have a bad time. Try approaching this one like a stupid kid out to have fun. Good for a party to see how far you can get before you blow it and before others bite their thumbs at you. You'll learn a lot of wrist action here. Save your ice cream sticks for those pitch fingers! ] MUSIC CD: Best Loved Piano Classics-I (Seraphim) ................................... My list of tunes I play and practice, are: The Beua Hunks, Little Rascals---Great warm up CD. 1/2 of Clara's CD tunes by Delos.---Some more than others. The Swan--S.Saens. Ponce Estrellita Villa-Lobos Bachianas Brasileiras No.5 Fuleihan Pastroale.(Still working on.) Carousel Waltz. (HARD ONE!) Sleeping Baeuty Waltz. Blue Danube Masquerade Suite Waltz Valse from Serenade for Strings Roses From The South Concert Waltz No.1 Waltz of the Flowers. Morning Papers Waltz Vioces of Spring Waltz Saint Saens:Intro & Rondo Capriccioso,Op.28 Massenet: Meditation from Thais Mozart, Menuett, D-dur Minuet, in D-Major Ave Maria Song of an Indian Merchant Schon Rosmarin ........................................... FOR ELECTRONIC MUSIC LOVERS! TH001 THE THEREMIN: The Stringless Violin: VOLUME-I: With Ross Marshall; Samuel Hoffman and paula Marie…. Shows the THEREMIN in action its weird sound, like in the Day The Earth Stood Still….90mins……$19.95 TH002 THEREMIN VOLUME-II: Portland Maine THEREMIN Festival And Concert. 6 hours of theremin related video footages…..$19.95 TH003 THEREMIN VOLUME-III: First Los Angeles Multiple Theremin Concert. 1997. With Ross Marshall, Ed Sussman (Mars Attacks theremin music) and Charlie Lester…$19.95 TH004 THEREMIN VOLUME-IV: Old Documentray with CLARA ROCKMORE the Greatest Theremin Player alive today, at 83 years old….She plays 4-5 tunes from classical pieces….$ FREE with any order of above tapes. TH005 THEREMIN VOLUME-V: The YOU ASKED FOR IT SHOW which has TWO b/w 1950's TV shows. Each one has a theremin player: Samuel Hoffman and paula Marie. These TWO shows have not been seen since the 1950's!!!…$24.95 RAW FOOTAGE. TH006 THEREMIN PLAYERS: New footages of theremin players and their theremins. Conventions, concerts, plays, jams and sessions. 90m. $24.95 Send what you can. ROSS Charles Hall wrote: > > Hello, > > This is a newbie-type question that must have been asked a million times > before, so pardon me... > > I've just built an EtherMax and it's wailing away. Now I'm trying to > figure out how to PLAY it! What's the best approach? > > - Lydia's video tape illustrates moving your hand closer to the pitch > antenna in a straight line. > > - The Bob Sexton book seems to use a different method, with the right > arm moving in an arc. > > - Both approaches are based on a formal "read the notes from the music" > approach. But wouldn't it be as easy to play by ear? I mean, if I have > to "memorize" the position of my hand/arm for each note, doesn't that > lend itself to a "not so formal" approach? > > My inclination is to just mess around for a while and see what happens, > but I don't want to develop any cripplingly bad habits. And those high > school trumpet lessons I took 25 years ago aren't much help!! > > Thanks! > -- > Charles Hall > Raleigh, NC USA From AKarlok@aol.com Thu, 21 May 1998 15:41:31 EDT Date: Thu, 21 May 1998 15:41:31 EDT From: AKarlok AKarlok@aol.com Subject: Real Newbie I think just messing around with it and getting a general feel is the best way to start. One bad habit you may want to avoid right off the bat is, hope I can explain this ok, is having say, your fingers pointing at the pitch antenna, and moving your whole hand to change the pitch, as opposed to reaching out with your fingers. You want to start thinking with your fingers for figuring out intervals I hope this makes somekind of sense From rewelch@earthlink.net Thu, 21 May 1998 15:57:03 -0400 Date: Thu, 21 May 1998 15:57:03 -0400 From: Reid Welch rewelch@earthlink.net Subject: FW: Bob Moog's account of Clara's funeral Hi, Reid. Here is the text of my email to you about Clara's Funeral. Please DO put it on the Levnet. I can't do it myself right now. I'm not yet on the Levnet, and I seem to find it almost impossible to do any internet stuff beyond keeping up with my email. Why don't you post BOTH Alex's and my reports? Thanks again. Bob - - - - - - Fortunately I was able to attend Clara's funeral. I was right in the middle of a serious business matter when news of Clara's death arrived, and I thought there would be no way for me to attend her funeral. But Ileana (my wife) and Gail (Big Briar's General Manager) worked together and made all the arrangements. Then my flight was cancelled. But I got a later flight, which arrived early, and, well, I got to the funeral five minutes before it started. It was a nice, dignified service. Alex Sherman and Bob Sherman (Clara's nephews), and Steve Sherman (Bob Sherman's son) spoke. Also, Alex read a short eulogy from Paul Robeson, Jr, a lifelong friend of Clara's, who couldn't be there in person. Steve Martin said a few words, as did I. They played a recording of Achron's Hebrew Melody from Clara's CD, and the Ravel Kaddish from Steve's documentary. Alex noted that, although Clara was not an observant Jew, she was very fond of Judiasm in general and Jewish music in particular. The service ended with a Chinese violinist that Clara was very fond of, playing one of Clara's favorite Bach pieces (I forgot which one.). A lot of musicians that I knew were there. Pamelia Stickney and Greg Kurstin flew in from Los Angeles. In addition, I saw the well-known synthesist Gershon Kingsley, the composer Charles Amirkhanian, and Dalit Warshaw, who, as you may know, was one of the few students that Clara ever accepted. We didn't converse much,- Clara's music and the memories spoken by her family left us with little to say. After attending the memorial service in midtown Manhattan, I accompanied Clara's family and friends to the cemetery. There, in a small chapel, Kaddish (the traditional Jewish prayer in praise of God) was said in Hebrew. Then Bob Sherman spoke a few concluding thoughts about how much Clara means to all of us. I felt honored and privileged to be able to pay my respects to such a talented musician and life-force. ***PLEASE NOTE OUR NEW TELEPHONE AND FAX AREA CODE*** Bob Moog realmoog@bigbriar.com Big Briar, Inc. (828) 251-0090 (business phone) 554C Riverside Drive <--business address Asheville, NC 28801 (828) 254-6233 (FAX) *** CHECK OUT OUR WEBSITE: HTTP://WWW.BIGBRIAR.COM *** From pluto@4link.net Thu, 21 May 1998 13:19:51 -0700 Date: Thu, 21 May 1998 13:19:51 -0700 From: Ross Marshall pluto@4link.net Subject: Real Newbie AKarlok wrote: > > I think just messing around with it and getting a general feel is the best way > to start. One bad habit you may want to avoid right off the bat is, hope I > can explain this ok, is having say, your fingers pointing at the pitch > antenna, and moving your whole hand to change the pitch, as opposed to > reaching out with your fingers. You want to start thinking with your fingers > for figuring out intervals I hope this makes somekind of sense .................. You should use your whole hand. Measure out from lowest note to highest note in an octave. ONE move of middle finger from low to high = one hand width. Just go up and down scales till remembered. Then pick out tune on CD to practice. ROSS From bfriberg@ra.abo.fi Thu, 21 May 1998 23:41:57 +0300 (EET DST) Date: Thu, 21 May 1998 23:41:57 +0300 (EET DST) From: Bjoern Friberg bfriberg@ra.abo.fi Subject: Unsubscribe How do I get off this list, I'm drowning here! From dball@esper.com Thu, 21 May 1998 16:52:09 -0400 Date: Thu, 21 May 1998 16:52:09 -0400 From: David Ball dball@esper.com Subject: Error Condition Re: Unsubscribe I removed you from the subscribers list. Please let me know if you have any problems. Dave Ball levnet administrator -----Original Message----- From: levnet@korrnet.org To: dball@esper.com Date: Thursday, May 21, 1998 4:40 PM Subject: Error Condition Re: Unsubscribe > >Rejected message: sent to levnet@korrnet.org by BFRIBERG@RA.ABO.FI follows. >Reason for rejection: suspicious subject. >--------------------------------------------------------------------------- ---- >How do I get off this list, I'm drowning here! From rewelch@earthlink.net Thu, 21 May 1998 17:16:42 -0400 Date: Thu, 21 May 1998 17:16:42 -0400 From: Reid Welch rewelch@earthlink.net Subject: Alex Sherman Alex Sherman, Nadia's son and Clara's nephew, phoned me last week to describe Clara's funeral. Since Bob has given us a first person account, I'll add a "Lev" story that Alex told at the funeral: Alex was a young boy when Lev was courting Clara Rockmore. This was in the very early 'thirties, a period when Clara roomed with Nadia's family. Lev visited Clara often. Although Alex was probably more interested in his toy train set than in Aunt Clara's suitors, Lev may have adjudged Alex a presence to be reckoned with. How to score points with Alex? No problem. Lev invented amazing remote controls for Alex's toy train. Switches shuttled boxcars. Crossing arms went up and down. And of course this automation was long before such things were heard of. Alex was delighted. ----- PS: As she pondered her approaching mortality, Clara often said that her dearest hope is that we carry forward and build upon her work and upon Theremin's achievements. Her extraordinary human qualities and her cornerstone musical accomplishments will forever be remembered with admiration and love. Reid From tpolk@prismnet.com Thu, 21 May 1998 20:14:56 -0500 Date: Thu, 21 May 1998 20:14:56 -0500 From: Tom Polk tpolk@prismnet.com Subject: trying to bulid a theremin (forwarded from a.m.m.t.) David Miller wrote: > > --WebTV-Mail-1157187889-2194 > Content-Type: TEXT/PLAIN; CHARSET=US-ASCII > Content-Transfer-Encoding: 7BIT > > Found this in the newsgroup. Can anyone help this guy out? > > Dave M > > --WebTV-Mail-1157187889-2194 > Content-Type: MESSAGE/RFC822 > Content-Transfer-Encoding: 7BIT > > From: j20333@aol.com (J20333) > Newsgroups: alt.music.makers.theremin > Subject: trying to bulid a theremin > Lines: 7 > Message-ID: <1998052103031900.XAA19424@ladder01.news.aol.com> > NNTP-Posting-Host: ladder01.news.aol.com > X-Admin: news@aol.com > Date: 21 May 1998 03:03:19 GMT > Organization: AOL http://www.aol.com > > i tried to make a theremin off of the scamatic at > http://www.nashville.net/~theremin/files/AsciiTheremin.txt , but i dont > understand what cutting the shield connectors off the 2n1264's means. Most transistors have three leads, shielded transistors have one extra lead which is tied to the transistor's metal case. So when the shield lead is grounded, the tranisistor's case is, too. This practice has proven unnecessary in *most* applications, as most transistors now have unshielded plastic cases. I have that book (it is fabulous, isn't it?), so I looked up the article. Cutting off the shield leads is in the context of other construction practices to reduce stray capacitances. This helps stabilize the circuit. From DavesTvox@webtv.net Thu, 21 May 1998 20:31:18 -0500 Date: Thu, 21 May 1998 20:31:18 -0500 From: David Miller DavesTvox@webtv.net Subject: trying to bulid a theremin (forwarded from a.m.m.t.) Thanks Tom. I forwarded the message to the original poster. Funny thing. Did you ever think Paul's instrument sounded like it was lacking a soul in those recordings I sent you? Maybe we should put something on the next Levnet CD compilation. CU Dave M From rewelch@earthlink.net Thu, 21 May 1998 22:50:10 -0400 Date: Thu, 21 May 1998 22:50:10 -0400 From: Reid Welch rewelch@earthlink.net Subject: trying to bulid a theremin (forwarded from a.m.m.t.) >-----Original Message----- >From: levnet@korrnet.org [mailto:levnet@korrnet.org]On Behalf Of David >Miller >Sent: Thursday, May 21, 1998 9:32 PM >To: Multiple recipients of list >Subject: Re: trying to bulid a theremin (forwarded from a.m.m.t.) > > >Thanks Tom. I forwarded the message to the original poster. > >Funny thing. Did you ever think Paul's instrument sounded like it was >lacking a soul in those recordings I sent you? Maybe we should put >something on the next Levnet CD compilation. > >CU > >Dave M > Hah, hah! Not to worry. Whitewash washes right off. BTW, I want to buy a Tannerin from you guys soon as they are ready. Your prototype sounded really nice and warm on the first Levnet CD compilation. Or maybe it was Tom's magic touch! regards, Reid From russ@prairieweb.com Thu, 21 May 1998 22:07:32 -0600 Date: Thu, 21 May 1998 22:07:32 -0600 From: Russ Evenhouse russ@prairieweb.com Subject: beer can riffs Hello everyone, I'm new to this mailing list, as I've just recently got my theremax working. I'm a first time kit builder, and I finished the theremax about a year ago, at which time I didn't get any output except via tuning it to the a.m. radio frequency that Paia stated at the time. I tried a few other options provided by the manual, but had no success. about 2 months ago my 6 year old son asked me what that thing was for, and after I explained it to him, I then had to say that..."but it doesn't work" Well why not? So I sent it in to Paia and it wound up being only a few cold solder joints. It seems to be working fine now, and I have been practicing the Star Spangled Banner on it. I'm getting to the point where the song is quite recognizable, but certain note progressions need to be made with nary a movement of my fingers. It's great fun, and today, while consuming some liquid bread, I found that by placing a full beer can close to the pitch antenna, I could play some cool riffs by tapping different locations on the can. Any other playing hints from all you others on the list would be welcome. Sincerely, Russ Evenhouse ' From clester@137.com Thu, 21 May 1998 22:17:40 -0700 Date: Thu, 21 May 1998 22:17:40 -0700 From: Charlie Lester clester@137.com Subject: Just sticking my head in to say HI HI Sorry I've been so scarce lately folks ... it's been a little hectic at Casa Electrolux. For those in the L.A. area with nothing to do Saturday night, I'll be playing at Moguls in Hollywood, some time around 11 p.m. (These things tend to be kinda loosely timetabled.) (Ross Marshall will also be playing some time that evening but I don't know when. You'll have to ask him.) Here's how the producer, "Rev. Al" of the Cacophony Society describes the gig: "It's a "Space-Age" show ... the theme made apparent with decor, props, screenings, costumed people mingling, a couple choreographed go-go numbers and THEREMIN. It's a long show beginning late afternoon, and there are three nights to it. It showcases garage, rockabilly, lounge, and exotica musicians, some local, some local some from elsewhere on the west coast. It's called "Demolition Derby." For more info you can call the Moguls or send email to "Rev. Al" . Sorry for the short notice --- but hope some of you can make it. I'm gonna depart from my usual stuffed-shirt parlor-thereminist routine and do some really wild stuff. ~ ~~~ ~~~~~~~ Charlie Lester From theremin1@worldnet.att.net Fri, 22 May 1998 05:00:04 -0700 Date: Fri, 22 May 1998 05:00:04 -0700 From: Arthur Harrison theremin1@worldnet.att.net Subject: LEVNET digest 317 Dave said: ><"It's good to hear someone else likes to play the 20's and 30's stuff. >"I couldn't agree more about the music. There is something strangely magical >about those tunes. They flow with a quality that suits the theremin well." Art: Well, I was waiting to hear mention of the '30s and '40s popular genre! Porter, Berlin, Gershwins; they're my favorites for heterodyning! From PhilipMann@aol.com Fri, 22 May 1998 05:18:48 EDT Date: Fri, 22 May 1998 05:18:48 EDT From: PhilipMann PhilipMann@aol.com Subject: LEVNET digest 317 Indeed, anything from "Porgy and Bess" would qualify, or Rodgers and Hammerstein. I mean, BLIMEY! How many times have you played "Bali Hai" or "Summertime". For me, some of the softer John Coltrane pieces like "Naima" or "Central Park West" are favorite Theremin pieces. For uptempo showoff pieces, there's nothing like "One Note Samba", or "Holiday For Strings". That's especially nice because of the legato middle section. One can certainly camp that up. That's my $2 worth. (Why isn't there a cent sign on my 'puter keyboard?) Don't forget to tune in on Real Audio for Babes In Quicksand. Right here. WOWL Radio 91.7 FM Sink-cerely Yours, Phil From objects@ix14.ix.netcom.com Fri, 22 May 1998 08:36:52 -0400 Date: Fri, 22 May 1998 08:36:52 -0400 From: W. Keith Crowder objects@ix14.ix.netcom.com Subject: LEVNET digest 317 At 05:00 AM 5/22/98 -0400, you wrote: >Dave said: > >><"It's good to hear someone else likes to play the 20's and 30's stuff. >> >Keith said: > >>"I couldn't agree more about the music. There is something strangely >magical >>about those tunes. They flow with a quality that suits the theremin well." > >Art: > >Well, I was waiting to hear mention of the '30s and '40s popular genre! >Porter, >Berlin, Gershwins; they're my favorites for heterodyning! > One of the benefits of playing the older songs is the availability of the sheet music. I usually go through all I can find at flea markets and used book stores. The prices are right and occasionally one can find something that wasn't even considered. I love finding music that I have never heard of before. One example was a series of Hawaiian love songs from the 40's----crazy stuff. For those of you that haven't already added a tuner to your theremin... All I can say is .......do it. It's a godsend. It also allows you to see how close or far you actually are to the notes floating around in the "ether". Methods for attaching such a device can be found on many of the levnetters home pages. Keith From kparker@reno.modernsolutions.com Fri, 22 May 1998 10:11:26 -0700 (PDT) Date: Fri, 22 May 1998 10:11:26 -0700 (PDT) From: Kelly Parker kparker@reno.modernsolutions.com Subject: Olivia's RCA One word---- casters. Kelly Parker From freenoise@yahoo.com Fri, 22 May 1998 10:38:34 -0700 (PDT) Date: Fri, 22 May 1998 10:38:34 -0700 (PDT) From: drew Version II freenoise@yahoo.com Subject: LEVNET ROLLCALL Hey everyone-- I have an idea- let's have a Levnet "Rollcall" -- I'll go first My name is Drew Version 2- I live in Virginia Beach, VA- I will be 18 years old in June. I will also be graduating high school in June and heading to Virginia Tech for college. I do not play theremin, but i will in the near future-- i plan on getting one soon (right after i get my Roland MC-505 Groovebox) , and i have a huge interest in the theremin and in electronic music as well. I LOVE music, and have about 400 Cd's, as well as about 200 33rpm vinyls, and access to about 200 78rpms also (through my grandmother.) I have played french horn for 6 years and guitar for 5 years. Umm, that's about all i can think of-- YOUR TURN! :) drew _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com From dball@esper.com Fri, 22 May 1998 13:54:44 -0400 Date: Fri, 22 May 1998 13:54:44 -0400 From: David Ball dball@esper.com Subject: LEVNET ROLLCALL Drew Version 2 wrote: >Hey everyone-- I have an idea- let's have a Levnet "Rollcall" -- I'll >go first > >My name is Drew Version 2- I live in Virginia Beach, VA- I will be 18 >years old in June Last year, another list I am on did a similar thing just to try to figure out what our average age was . It turned out that I was pretty darned close to the median. Anyway, I'm game for roll call. I'm Dave Ball, I'm 40, I live in Knoxville, Tennessee. I have a wife of nearly 20 years, a 16 year old son (who, like Drew, plays horn and guitar) , lots of records, guitars and banjos. Even a few theremins. I'm a data processing manager by profession. I play banjo (clawhammer style), guitar, Hawaiian guitar, uke, etc. and am still working on theremin. Next... Dave Ball From ROAKLEY@LSAC.org Fri, 22 May 1998 14:08:50 -0400 Date: Fri, 22 May 1998 14:08:50 -0400 From: Oakley, Robert ROAKLEY@LSAC.org Subject: LEVNET ROLLCALL Ok, one for the money, right? My name is Rob. I live in New Hope, PA with my wife of 5 years. I am 36 years old and play (at various levels) the highland bagpipes, pennywhistle, mandolin (four whole weeks, no less), a very tiny amount of Coronet (the neighbors are NOT deaf), a cheap plastic recorder, a large glass flute and my little Etherwave (when it doesn't frustrate me too much). With all of these instruments, I still sing better than I play. I also geek on computer stuff, mostly networking and internet, I'm trying to write yet another novel (hopefully something publishable), and love too cook. Because I love to eat. That's how it works. NEXT! > -----Original Message----- > From: drew Version II [SMTP:freenoise@yahoo.com] > Sent: Friday, May 22, 1998 1:39 PM > To: Multiple recipients of list > Subject: LEVNET ROLLCALL > > Hey everyone-- I have an idea- let's have a Levnet "Rollcall" -- I'll > go first > From av599@lafn.org Fri, 22 May 1998 11:19:31 -0700 Date: Fri, 22 May 1998 11:19:31 -0700 From: Doug Forbes av599@lafn.org Subject: LEVNET ROLLCALL Howdy, I'm Doug Forbes and I'm 47 tomorrow. I am a college professor at College of the Canyons in Valencia Ca. I teach Electronics, Computer Science and Music Technology. I have designed and built Theremins since the mid sixties and was very much involved in the early electronic music scene in Ca. with Paul Beaver et al. I play keyboards,guitar,bass,clawhammer banjo,pedal steel, and bagpipes. I have 65,000 LPs and about 2000 CD's (my wife says it's a sickness but that's not true, right?). I build and design audio amps and am really into high-end audio. I most recently (5 years ago) was responsible for implementing the home-theatre version of THX for Lucasfilm and got to spend some time a Skywalker Ranch (man o man). Next ? Doug From pluto@4link.net Fri, 22 May 1998 12:06:45 -0700 Date: Fri, 22 May 1998 12:06:45 -0700 From: Ross Marshall pluto@4link.net Subject: LEVNET ROLLCALL Howdy, my name is Ross Marshall I live in North Hollywood, Ca. I just turned 43. I play the 91A theremin. I went to CAL ARTS, trained and worked in the Animation industry. Converted to Live Action and now produce low budget trash films (John Waters)as well as documentaries on a variety of subjects, such as the theremin. I play and teach theremin to the best of my ability, for anyone interested, for free and for donations. Moved out here when I was 19 years old. Been here ever sense. My music taste is CLASSICAL and 1930-40's Jazz pieces. I am a regular "Theremin Host" at the C.I.A. Club and for Rev.AL in the L.A. area. I also travel on some occasions to do theremin concerts. My number is 818-504-4135 for any one in the area interested in jamming together on the theremin. ROSS MARSHALL From pluto@4link.net Fri, 22 May 1998 12:13:04 -0700 Date: Fri, 22 May 1998 12:13:04 -0700 From: Ross Marshall pluto@4link.net Subject: LEVNET digest 317 Keith; Try the Beau Hunks Little Rascals! Great Jazz! Vol-II is even better than the first volume.......ROSS W. Keith Crowder wrote: > > >><"It's good to hear someone else likes to play the 20's and 30's stuff. > >> Hey everyone-- I have an idea- let's have a Levnet "Rollcall" -- I'll > go first > > Hello? Hello? Is this mic working? (tap tap tap) Hi there - I'm Lorelei, I'm 26 years old, live in San Francisco with my rabbit and housemates and we're all in a band (sans rabbit). I play a green, fur-covered Theremax and a silver flute for the band. We're probably classified under "pop" somewhere, but I wouldn't know where that would be. I'm an assistant editor at a computer animation company where we're making a full-length cg film for Dreamworks SKG titled "Antz" with Woody Allen and Sharon Stone as the lead vocals. This takes up most of my time. I have a huge selection of vinyl and since I don't own a CD player at home, I have a paltry amount of CD's. They Might Be Giants, Jonathan Richman, Pixies, Esquivel, Les Baxter, Martin Denny, Talking Heads, Ella Fitzgerald, Clara Rockmore, Beastie Boys, Tribe Called Quest, DJ Shadow, Pizzicato Five, Cibbo Matto, yada yada yada... My current non-musical project at the moment will be my 1989 Mercury Tracer hatchback which I am converting into an ArtCar. I plan to scale the entire car in old records. Hopefully this car will be able to make it to Burning Man this year - otherwise it will be in the West Coast ArtCar Parade. Oh yeah - and thanks for everyone's advice on the Etherwave's pitch control - I finally just took the top off and found a loose wire connection. All is good. Allll-rightie... Next! ---Lorelei From cx955@freenet.carleton.ca Fri, 22 May 1998 15:54:37 -0400 (EDT) Date: Fri, 22 May 1998 15:54:37 -0400 (EDT) From: Dylan David Wagner cx955@freenet.carleton.ca Subject: LEVNET ROLLCALL >Allll-rightie... Next! Don't know if I can top the artcar! And I wish I was in close proximity to the Burning Man festival, but alas! My name is Dylan David Wagner but my meandre friends call me Pompous... I just recently discovered that there's an actual literary term (based on criticism of the poetry of Dylan Thomas) called "Dylanism" which roughly means "saying stuff in a high and flighty manner". I'm 19 and am currently studying Bio and Psych at Carleton University. I play my 1 year old etherwave with a plasma ball (when I can) and am planning to build a thermivox in as weird a manner as possible... The fur idea sounds quaint, but I think I'll go with silly 70's retro-future kinda triangles and flashy useless lights! Ideally I'd like to build a terpistone but alas I haven't the techno-electro experience and knowledge to pursue such a dream... I also plan to build Davros (the head of the Daleks) during my summer break; hopefully with his own built in theremin. Otherwise I'm not at all married but will probably one day be (along with 95% of the world's bipeds). I have two wee synths (a Micrmoog and a Realistic Moog) which I adore and feed and pet every day. Otherwise I -inadvertently- collect bizzaro/trash/art/euro-horror/underground etc. etc. films. As to cd's I own a platry 120 or so, along with maybe 20 vinyls. But it's all choice stuff (I swear it!). Mostly Philip Glass, Wendy Carlos, Goblin, Meredith Monk, etc. etc. Along with brief forays into pop with the likes of Bjork, Tori Amos, Ani D. and all those other gals! To my shame I have WAY too many books (mostly highbrow literature, philosophy but with a fair share of science books and as many Sociobiology books as I could get my hands on). Lastly, like someone else here, I hope to get a novel published (a deep, dark and generally shadowy pseudo-mystery) so I don't have to grow up to become a borish and boring Doctor of something-or-other... (unless it's Doctor -of- Who, in which case I'll take the post!) May the next thereminer stand up and take the teddy bear and express their deepest feelings and problems to us all? -- Urg Burglle Splatch? Just another solution to ALL of life's problems from Dylan David Wagner at: cx955@Freenet.Carleton.CA From av599@lafn.org Fri, 22 May 1998 13:18:12 -0700 Date: Fri, 22 May 1998 13:18:12 -0700 From: Doug Forbes av599@lafn.org Subject: Lorelei Art Car >My current non-musical project at the moment will be my 1989 Mercury >Tracer hatchback which I am converting into an ArtCar. I plan to >scale the entire car in old records. > I'd be happy to contribute the records if you would be willing to come pick them up in the L.A. area. Doug From objects@ix18.ix.netcom.com Fri, 22 May 1998 16:30:28 -0400 Date: Fri, 22 May 1998 16:30:28 -0400 From: W. Keith Crowder objects@ix18.ix.netcom.com Subject: LEVNET digest 317 At 02:58 PM 5/22/98 -0400, you wrote: >Keith; > Try the Beau Hunks Little Rascals! Great Jazz! Vol-II is even better >than the first volume.......ROSS Ross, Thanks for the tip. I'll be on the look-out for them. Also, The House of Wax music is great, Thanks for such prompt delivery. Keith From objects@ix10.ix.netcom.com Fri, 22 May 1998 16:39:49 -0400 Date: Fri, 22 May 1998 16:39:49 -0400 From: W. Keith Crowder objects@ix10.ix.netcom.com Subject: rollcall Hey, where's the soapbox? Anyway, I'm Keith Crowder, 36, in Providence, RI, weird little state. My main occupation is that of sculptor and furniture maker. I also pour drinks a few nights a week. The theremin has been screaming and moaning away in my house for about 2 1/2 years. No other instruments except for chainsaws and hand planes. Oops, fell off the crate, next speaker please. From lorelei@pdi.com Fri, 22 May 1998 13:30:51 -0700 (PDT) Date: Fri, 22 May 1998 13:30:51 -0700 (PDT) From: Lorelei David lorelei@pdi.com Subject: Lorelei Art Car > I'd be happy to contribute the records if you would be willing to come pick > them up in the L.A. area. > > Doug > Wow! Thanks for the offer, Doug. There's always the possibility that I have to fly down to LA at the last minute, so please e-mail me your info and I'll give you a holler if I'm going down. Thanks again! ---Lorelei lorelei@pdi.com From objects@ix8.ix.netcom.com Fri, 22 May 1998 16:44:52 -0400 Date: Fri, 22 May 1998 16:44:52 -0400 From: W. Keith Crowder objects@ix8.ix.netcom.com Subject: LEVNET digest 317 At 02:58 PM 5/22/98 -0400, you wrote: >Keith; > Try the Beau Hunks Little Rascals! Great Jazz! Vol-II is even better >than the first volume.......ROSS Ross, Thanks for the tip. I'll be on the look-out for them. Also, The House of Wax music is great, Thanks for such prompt delivery. Keith From dball@esper.com Fri, 22 May 1998 17:14:41 -0400 Date: Fri, 22 May 1998 17:14:41 -0400 From: David Ball dball@esper.com Subject: Rollcall status Well so far, I get the average age of levland to be 32.71 years. We'll see where that goes over the next few days. It is really interesting to find out a little about list members...(good idea, Drew!) Next.... From HAMHM@sce.com Fri, 22 May 1998 14:40:44 -0700 Date: Fri, 22 May 1998 14:40:44 -0700 From: Ham, Howard M HAMHM@sce.com Subject: Rollcall status Okay, it's time to chime in to help raise the average age... My name is Howard Ham, and I'm 43 years old. I live in Covina, California with my wife of 23 years, our 19-year-old daughter, and 15-year-old son. I work for Southern California Edison Company as a Protection Engineer (has to do with short-circuits and protective relays, not that other protection racket where you carry guns). I own a Big Briar model 91A. Right now I'm theremin- less, though -- the 91A's audio board is back in Asheville for some "Charlie Lester" modifications. Besides theremin, I also play piano (mostly for church). Next! >---------- >From: David Ball[SMTP:dball@esper.com] >Sent: Friday, May 22, 1998 2:16 PM >To: Multiple recipients of list >Subject: Rollcall status > >Well so far, I get the average age of levland to be 32.71 years. We'll see >where that goes over the next few days. > >It is really interesting to find out a little about list members...(good >idea, Drew!) > >Next.... > > > > From AKarlok@aol.com Fri, 22 May 1998 18:18:27 EDT Date: Fri, 22 May 1998 18:18:27 EDT From: AKarlok AKarlok@aol.com Subject: More Roll,Call.... I'm gonna do my darnest to help raise the age average, I'm Andy Karlok, I'm 42,and live in Orange Ct., just outside New Haven, anyway I've been playing music for a living since I was 16. i mostly play bass, but I have quite a collection of instruments that I've collected over the years, some I can almost play ! The last few years I've been playing in a lot of blues bands, that seems to be the easiest to get pick up work with, plus I like playing it. i was in the house band at the Boston "House of Blues 'for awhile, and use to bring my theremin with me sometimes Nothing quite like blies theremin. Besides playing in blues bands, I've done some session work around Ct. on theremin, including a couple of commercials,now those, were brilliant ad men. I also play theremin three or four times a month in a band called the "Electric Logs" We're sort of a lounge, movie and T.V. themes ,space age pop, basically any goofy tune we feel like playing. or as we like to say an older, fatter, Hanson, now with 50 per cent more theremin. If any of you Levnetters around Boston have nothing to do next Friday, the 29th, we'll be playing at "the Lizard Lounge' in Cambridge. Well I've taken up enough of your time, somebody else say something Andy ' From TheeXVirus@aol.com Fri, 22 May 1998 18:30:53 EDT Date: Fri, 22 May 1998 18:30:53 EDT From: TheeXVirus TheeXVirus@aol.com Subject: LEVNET ROLLCALL Okay....um, Justin Wieland. I'm 17, 18 in June and also graduating then too. Going to a crappy college for a couple years and then hoping to go to a good one (outside of California.) Been playing guitar for several years and just started theremin. Listen to a lot of Velvet Underground, Nick Cave, Cranes, Nick Drake, Leonard Cohen, Jesus and Mary Chain, Love and Rockets, Ricky Nelson, Gene Pitney....and I like to read comic books. From Planetgrog@aol.com Fri, 22 May 1998 18:52:29 EDT Date: Fri, 22 May 1998 18:52:29 EDT From: Planetgrog Planetgrog@aol.com Subject: LEVNET ROLLCALL Hi! I'm Pamelia. I'm 21. My boyfriend of 2 and 1/2 years and I live in LA. He's an accomplished jazz pianist (he's playing with George Coleman this week at the jazz bakery in Culver City) I'm a thereminist, upright bassist, classical pianist , I play flute, guitar (not they way I like to hear it) basically whatever insrument's placed in front of me, I play--except for brass instruments. I like making loops, and playing drums too! Drums are as fun as theremining because it's instant gratification if you know what I mean. Any drummers out there??? I write string arrangements (record them with theremin), working on compositions--of course for theremin(s)!!! When the Geggy Tah record is finally mixed and done, done, done, I'll be performing out around LA, some colleges ,on other people's albums and checking out compositions. I'll also be working on my own album soon!!! Exciting!! I'm on a Bjork remix of the song Hunter on the latest album but I don't know if it will be released in the states or when. After that, I'll be touring with Geggy Tah whenever the record is released--most likely Europe this time besides the states. Everything is always up in the air!!! In my spare time, I like to sew but three dimensional sewing--no way! I tried to make pants but they came out like, I don't know how to describe it! Only Gumby could fit into them, let'say. My cooking sucks but I can bake things...not really. I paint when I get inspired. I love animals (but I still eat them too). like to shave my dog's fur and make zebra stripes on him. I used to be a buyer for a small chain of clothing stores--almost didn't even persue a career having anything to do with music!! But you know how fate goes... WHO"S NEXT??? I KNOW THERE ARE MANY MORE LEVNETTERS OUT THERE!!! I've talked too much! And that's not even half the story!!!!!!!! From gbswift@telis.org Fri, 22 May 1998 14:59:44 -0800 Date: Fri, 22 May 1998 14:59:44 -0800 From: Gary B. Swift gbswift@telis.org Subject: LEVNET ROLLCALL 5/22/98 Howdy! I'm Gary Swift, age 45. 1975 Naval Academy grad, Mechanical Engineer. Drove nuke subs for 5 years, worked for Southern California Edison for 14 years at San Onofre, taught public school for 2 years here in Independence. Now I'm "Mr. Mom" and between jobs. My wife has been doing a lot of long-term substitute teaching. I'm an OK electric bass player due to about a decade in garage rock bands. Occasionally dabble in guitar, theremin & musical saw (just for fun--no skill!). My 7 yr old son and 11 yr old daughter both play cello in the school string program. Drawback is that they share the SAME rented 1/2 size cello. At a recent recital, all the kids were supposed to play together for the closing numbers. My kids had to take turns playing the cello while the other one sat out and watched! Gary B. Swift Independence, Calfornia (population 560) Owens Valley, Great Basin Desert Eastern Sierra Nevada Mountains From Protist@aol.com Fri, 22 May 1998 19:24:54 EDT Date: Fri, 22 May 1998 19:24:54 EDT From: Protist Protist@aol.com Subject: LEVNET ROLLCALL Hi fellow thereminers, My name is Kirk Slinkard. I live just outside Denver, Colorado, and I'm another 43-year old (generation W). So this roll call makes me feel like a black-and-white mousekateer (some of you younger whippersnappers might not be familiar with the old mousekateer roll call). I am a beginner theremin player and the proud owner of an Etherwave which was mounted in a bizarre and theatrical custom case. I have some past experience playing trombone, saw, a variety of keyboard and percussion instruments, and grass and soda straws. I have had classical training on the jaw harp and kazoo, but now I consider myself primarily a synthesizer player. I will be mainly a two-instrument person when I get my theremin playing down. I have played in rock groups since the sixties, and now I am starting to do my own solo recordings on synth. In school, I played classical, jazz, march, and pop music. But now that I have a choice, I do hard rock, heavy metal, and similar types of music. For a hobby, I collect and restore vintage electric (including electronic, electrophonic, electrical, and "electronical") keyboards and amplifierss. I have nearly 40 combo organs alone, which means that until I get a bigger house I don't have enough room for a family or even a large pet. I like both tubes and transistors. I think that the levnet is very worthwhile bacause when I become a decent theremin player I will know the proper ways to replace light bulbs. Hey, didn't we do something kind of like this about a month ago? From RSRalston@aol.com Fri, 22 May 1998 19:33:54 EDT Date: Fri, 22 May 1998 19:33:54 EDT From: RSRalston RSRalston@aol.com Subject: LEVNET ROLLCALL My name is Randy Ralston. I'm from the greater Los Angeles area (Sylmar, to be exact). I'm 33 and work in Data Security as a profession but have been involved with music all my life. I play electric bass and like rhythm of all kinds. I have a djembe that I love and alternative and electric instruments have always attracted me. I got hooked on theremin when I first saw Charlie Lester perform at Founder's Church and then later do a pipe organ/theremin duet with my father, Bob Ralston. I built a Theremax which I sold quickly after completion (the stench still lingers in my home). I fell in love with the 91A when Ross let me play his for an extended period of time, then fell in love again at the west coast NAMM show with the EtherVox. I've been threatening to get an Etherwave but persistent financial problems have prevented this. I have a dream of building a remote-controlled, self-contained, roving theremin. It would have 12v power with speakers (and a headlight) and would interact with individuals and crowds of people - whoever approached it. They could play with it and it could play with them. This would be great at Burning Man. Maybe it could interact with the theremin car! Peace & Love, - Randy From jlarryh@iquest.net Fri, 22 May 1998 19:14:09 -0500 Date: Fri, 22 May 1998 19:14:09 -0500 From: J. Larry Hendry jlarryh@iquest.net Subject: LEVNET ROLLCALL Great idea, Drew! Here's my story: My name is James Lawrence Hendry and I am known to Larry by 99.9% of the world. My wonderful wife of 2 years insists on calling me James. I just turned 42 years old and I have two sons who I raised on my own since grade school after my first wife ran off with a donut maker. One is out of college and one is a senior this fall. I have been playing the piano since my mother made me take lessons at age 6. I played in bands all through school and on and off through the rest of life. All have been part time as I came to the realization about 1974 that music was great but I was not great enough to make a living out of it. So, I choose electronics as a career path. I also have a BSBA degree. I have worked for PSI Energy (the Indiana, Ohio equivalent of Howard's Southern California Edison) for 22 years and I know exactly what a protection engineer is. I am a field rep for the Operations Control Center, which means I am responsible for putting all new quipment in service and usually end up at the site when substations do bad things. I bought my first Theremin for my wife as a gift. We built the PAiA T-max. Later we bought a Entherwave kit and so far, neither of us can play the thing so that anyone else would want to listen. However, I am hopeful with some more practice that we will prevail and make respectable music with the beast. I have a 8 track digital project studio in my home and enjoy making music with my wife. However, my gig itch is coming back. So I expect I will be weekend gigging with the keys somewhere soon. Since I am an electronics buff, I love to build and restore electronic instruments. The original concept was: 1-buy low, 2-refurbish, 3-sell high. Reality is: 1-buy low, 2-refurbish, 3-add to collection. Once I have restored the likes of a Jupiter 6, or Yamaha CS-15, I can't bear to part with them. I am in the process of building an analog modular synth. I also have a bad case of CD disease (yes, it is addictive). My favorite artists know how to crank the new and different sounds out of a synth. Keith Emerson, Rick Wakeman, and Wendy Carlos are some I enjoy. OK, time to shut up. I know I have said too much. Theremin player want-to-be, Larry From John_Mitchell@ascend.com Fri, 22 May 1998 18:38:04 -0700 Date: Fri, 22 May 1998 18:38:04 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: LEVNET digest 317 >With the exception of the theremin when it is skillfully played, synthesized sounds tend to be soul-less.< Peter, Peter, Peter. Whatever are we going to do with you? It all depends on the synthesist. It also helps to have a big fat analog synth. Even the best digital synth generates signals that lack a "center". Bad algorithms? I don't know. BTW, let me redeem Doepher in your eyes. Remember when I said that the jacks in my synth were all going south? Well, the problem was actually the Doepher patch cords. The plugs are too short by about 1/64th of an inch. When I used plugs made in the good ol' USA, everything was fine. Deiter Doepher (who is extremely good about answering questions promptly) says they have since switched to another patchcord manufacturer, so go for it, dude. But do get the high-end oscillators. The exponential converters in the standard ones leave something to be desired. Otherwise, I love that synth. It can sound like a Moog and it can sound like a Buchla. I love it, do you hear me? johnm From John_Mitchell@ascend.com Fri, 22 May 1998 18:42:20 -0700 Date: Fri, 22 May 1998 18:42:20 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Gershon Roisley Philip M. wrote: >So that's where the new Gershon Kingsleys and Hugo Montenegros are coming from.< Another Gershon Kingsley? Lord, I hope not. If you have ever wondered what a good synthesist with bad taste sounds like, look no further. johnm From Planetgrog@aol.com Fri, 22 May 1998 22:17:29 EDT Date: Fri, 22 May 1998 22:17:29 EDT From: Planetgrog Planetgrog@aol.com Subject: Gershon Roisley In a message dated 5/22/98 5:56:25 PM, you wrote: <> Are you serious? Gershon Kingsley's an innovator!!!! The music's hip to me! Tastes great! From lorelei@pdi.com Fri, 22 May 1998 19:40:20 -0700 (PDT) Date: Fri, 22 May 1998 19:40:20 -0700 (PDT) From: Lorelei David lorelei@pdi.com Subject: Lorelei Art Car Doug, As it turns out, I'll be flying down to LA this Tuesday! Please send me an e-mail with your contact info and I'll see if I can cruise on by to pick up the records next week! Thanks a ton! (And I really mean a ton :-) ---Lorelei lorelei@pdi.com > > > >My current non-musical project at the moment will be my 1989 Mercury > >Tracer hatchback which I am converting into an ArtCar. I plan to > >scale the entire car in old records. > > > > I'd be happy to contribute the records if you would be willing to come pick > them up in the L.A. area. > > Doug > From John_Mitchell@ascend.com Fri, 22 May 1998 20:19:05 -0700 Date: Fri, 22 May 1998 20:19:05 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: Pamelia goes nuts Pamelia wrote: >Are you serious? Gershon Kingsley's an innovator!!!! The music's hip to me! >Tastes great! WHAT? Are you MAD? Kingsley is the absolute king of electro-schlock (though an excellent synthesist). Gag me with a patch cord. OK, minus 2 points for Pamelia. Keep this up, hon, and you won't be my theremin goddess any longer! johnm From John_Mitchell@ascend.com Fri, 22 May 1998 20:47:03 -0700 Date: Fri, 22 May 1998 20:47:03 -0700 From: John_Mitchell@ascend.com John_Mitchell@ascend.com Subject: LEVNET ROLLCALL This is insane. Do y'all realize how many people are on Levnet? This could take eons! But since there are so many 40-somethings here, here's my 2 cents worth. I'm John Mitchell, a.k.a. johnm. I'm 43, but who's counting? I built my first theremin in 1968 and played it until about 1978. I had never met another thereminist until about a year ago. Although I'm a marketing writer (not that you would know it from my sloppy posts), I have a bachelors degree in electronics. I have designed, built and even sold electronic instruments, including the thereminette--my version of the theremin--which corrects several of the theremin's deficiencies. I own a Moog Signature Series Etherwave (#6), but rarely play it because I'm too damn lazy. I played accordion for five years, then switched to classical organ (pipe), for which I also composed. Don't do that much anymore either. Nowadays I dink around on my Doepher and yamaha synths. I am Levnet's unofficial curmudgeon (for now, anyway). Maybe it's because all this theremin stuff is old news to me. If I have any claim to fame on Levnet, it is in coming up with the idea for the compilation tape/CD, which Joan P. had the moxy and wherewithal to actually coordinate and produce (and did a damn good job of! She's another Levgoddess). So why do I hang out here, other than to bitch? Because Levnet is a nucleus for meeting some rather interesting and creative people, that's why. Had enough? OK. johnm From PhilipMann@aol.com Sat, 23 May 1998 01:06:54 EDT Date: Sat, 23 May 1998 01:06:54 EDT From: PhilipMann PhilipMann@aol.com Subject: LEVNET ROLLCALL Alright. I've been mostly silent, but here I am. Call me Phil. I'm 42, living in Florida for the last 17 years. I have been a Bassist for the last 28 years. While in college in the '70s (University of Maryland), I got my first Theremin (a Maestro) and have been playing it ever since. Recently, I bought a BB Etherwave. Great tone, good control, but can't the range be tweaked an octave or two higher? I've played every kind of music from Tangerine Dream to Frank Zappa, and nearly all in between. I am currently playing in a Zappa tribute band Treacherous Cretins, a jazz band named Smoking Sextion, and eclectic band Equinox, where I did some of my finest Theremin work. I play many instruments, too many to list here, but Bass, Theremin, and Vibraphone are the main ones. Wave by Antonio Carlos Jobim is another tune I enjoy playing on the 'min. Oh, also tune into my radio show, Babes In Quicksand at http://www.fau.edu/wowl Thursdays from 4-6 PM Eastern Standard Time. I play some of the most mind-twisting music on the airwaves. In fact, for next week's show, I'll play something from Gershon's Symphonic Suite from Porgy and Bess. I only wish I had a recording of his Popcorn (under the name Hot Butter). Sure, many of Gershon, Hugo, and Perrey's recordings sound laughable today, but they are nonetheless fascinating from a historical perspective. I agree that Beaver and Krause, along with Walter/Wendy Carlos were the cream of the crop. You wanna talk bad musical taste, do the name Isao......strike a familiar note? Sink-cerely Yours, Phil From voelzv@winternet.com Sat, 23 May 1998 00:11:02 -0500 Date: Sat, 23 May 1998 00:11:02 -0500 From: Vincent Voelz voelzv@winternet.com Subject: LEVNET ROLLCALL and Theremax stuff This roll call is a good idea! My name is Vincent Voelz, but you can call me "Vinny" if you really want. I'm a 22-year old "super-senior" at University of Minnesota (in Minneapolis) majoring in physics, and I want to go on to grad school in biophysics. Lately I've been taking a break from classes due to some health problems. I'm a jazz pianist that plays around the Twin Cities, most prominently in a retro/lounge group called the Jaztronauts -- it's a hip little combo that the chicks really dig! A couple years ago I built a Theremax theremin from Paia(*), which I'm getting much better at by leaps and bounds :-) In the past month I've really gotten back into practicing, especially since the theremin fits in well with the futuristic/space themes of the lounge group, and because I've been writing some material for a modern jazz ensemble I'm in. My main goal is to get to the point where I can improvise *cleanly*, mainly by improving my muscle memory and quickening my ear. I also want to get a cheap effects processor to diversify what sounds I can get out of my therry (any suggestions?) Besides piano, I also play a Fender Rhodes (Suitcase, 73-key) which I love dearly, and I dabble in accordion. Anyone wanna sell me a Hammond B-3? Or a minimoog? (sigh) Besides jazz, my musical influences are generally eclectic -- Moog Cookbook, Astor Piazzolla, early Elvis, Stevie Wonder, etc. My latest project has been arranging (and somehwat modernizing) the entire score of Gilbert and Sullivan's _H.M.S. Pinafore_ for a local theatre production! I'm an avid homebrewer, backpacker, computer user/programmer/web designer, and full-time breakfast connoisseur, blah, blah, ..... ----------- (*)Oh, before the roll call came up here's what I wanted to write about: How many of us on levnet have a Theremax? (Had I done it all over again, I probably would have bought an Etherwave, but hey...) Does anyone else have a problem with an unresponsive volume? When my hand is entirely through the loop, there is still sound, and the range of volumes attainable seems very slight -- neither of these problems can be rectified with pitch trim, either. Maybe I should bug Paia about a possible mod to fix this? It's just not plain sensitive enough. Any advice? Due to various reasons (for one, I get very tired when I stand up), my technique has much evolved since I started. I've been sitting down to play the theremin, and I even rest my lower wrist/forearm on the front of the Theremax cabinet. My hand position is this: my thumb and index finger are together, like they would be in a fist (with the fist in a hand-shaking orientation -- the thumb is on top), and I can conceptually "center" pitches with them. Meanwhile, my other three fingers I use to articulate notes -- serendipitously, from a closed fist position to a fully extended position is almost exactly an octave for me! Vibrato is mainly an up and down motion. For all you purists out there -- is this "cheating"? If so, I really don't care, because I get great pitch control without sacrificing other characteristics of the instrument. Comments? Wooo ooooo! --Vince Vincent Voelz voelzv@winternet.com http://www.winternet.com/~voelzv From dstork@ibm.net Sat, 23 May 1998 00:25:40 -0700 Date: Sat, 23 May 1998 00:25:40 -0700 From: Dave Stork dstork@ibm.net Subject: LEVNET ROLLCALL I'm Dave (one of several Daves on this list), age 31. I live in New Paltz, NY, about 75 miles north of NYC, in a spacious apartment with my girlfriend, several guitars (mine) and saxophones (hers), and approximately one ton of books and vinyl records. I'm an electronic technician by trade, and a songwriter, prose writer, vegetarian cook, sex maniac and sometimes musician by avocation. I'm tall, bald, smoke cigarettes, and can't live without beer and coffee. I play guitar and drums; and although I've designed and built two theremins, I don't really know how to play them yet. Most of my work revolves around the repair, modification and design of guitar amplifiers, primarily tube type. I also work a lot on sound reinforcement gear and audio amplifiers in general. I love dogs and rabbits and I drive a '73 Olds. 'Nuff said. -- Dave Stork Stork Audio dstork@ibm.net http://members.aol.com/StorkAudio From AKarlok@aol.com Sat, 23 May 1998 01:29:29 EDT Date: Sat, 23 May 1998 01:29:29 EDT From: AKarlok AKarlok@aol.com Subject: Pamelia goes nuts And whats wrong with electro-schlock Andy From spidey@bit.net.au Sat, 23 May 1998 15:45:36 +1000 Date: Sat, 23 May 1998 15:45:36 +1000 From: Andrew spidey@bit.net.au Subject: Nice to Levnet you Ahem, My name is Andrew Günsberg, I live in Brisbane Australia, (It's one month from winter and the temp is 23C) Since a starring role in a nativity play, I've been a perfomer for quite a while! So I'm mainly into basses (all sorts) and vocals, recently moving into Theremin, loops and beats and samplers and things. I'm 24 years old and live with the most beautiful and talented woman in the world..(lucky me!) I've had a few CD's out with my old band Feeble's Junky, and an LP with a hip hop band (Resin Dogs) We played at the LIVID festival last year, saw DEVO in their hats and playing old wooden moogs on stage! Right now on my Etherwave I'm Grandmaster Glissando and the Furious Pitch Fish, but occasionally, I make two or three notes in a row that sound good, and that inspires me to keep going! For a crust, I work as a radio announcer at this City's #1 Radio station, B105fm. How is it possible that I work at a hardcore CHR / Hot AC format station, yet my recorded music collection contains no Bryan Adams? Very, very possible! Lots of CDs, anything and everything, mainly strange stuff Zappa, William S Burroughs, Praxis, Bill Laswell, John Adams, Steven Reich, Rage Against the Machine, Spice Girls (yes I'm serious) , Pangaea (the best band in the universe and they're from Brisbane REALLY!!), etc etc etc Lots of local bands you wouldn't know Regurgitator, Precision oiler, all these bands have web sites, look them up! A decent amount of vinyl (not 65 000 however!) Herbie Hancock, Miles, Coltrane, Monk, John Cage-yes I have 4'33'' on LP, Pierre Henry, Kraftwerk, Stockhausen Herb Alpert, more Herb Alpert, generally funky soul kindy hip hop LP's etc etc etc We broadcast in real audio at b105.com.au I'm on tomorrow 12midday-2pm my time, work it out, regular shift 1am-6am....yay. My handle on air is "Spidey" I didn't pick it. Call me reverse charges when you hear me, we'll yak on the wireless a bit!! xxx Andrew Ps web pages relating to above message.. http://www.bit.net.au/feebles http://b105.com.au http://www.bit.net.au/~p-oiler/index.html I played theremin with these guys once! From pluto@4link.net Fri, 22 May 1998 23:06:47 -0700 Date: Fri, 22 May 1998 23:06:47 -0700 From: Ross Marshall pluto@4link.net Subject: Lorelei's Band. Lorelei David wrote: > > > I'd be happy to contribute the records ... Lorelei, would you like to shoot some video of your Band and send it for the ungraded version of THEREMIN PLAYERS? ROSS From pluto@4link.net Fri, 22 May 1998 23:51:26 -0700 Date: Fri, 22 May 1998 23:51:26 -0700 From: Ross Marshall pluto@4link.net Subject: Videos/Music FOR ELECTRONIC MUSIC LOVERS! Hey, all you new levnetter's. Some of you new folk probably haven't seen this stuff. So, here it is. Productions by Ross Marshall. 1. THE THEREMIN: The Stringless Violin: VOLUME-I: With Ross Marshall; Samuel Hoffman and Rare footage of Paula Marie…. Shows the THEREMIN in action its weird sound, like in the Day The Earth Stood Still….90mins 2. THEREMIN VOLUME-II: Portland Maine THEREMIN Festival And Concert. 6 hours of theremin related video footages… 3. THEREMIN VOLUME-III: First Los Angeles Multiple Theremin Concert. 1997. With Ross Marshall, Ed Sussman (Mars Attacks theremin music) and Charlie Lester 4. THEREMIN VOLUME-IV: The YOU ASKED FOR IT SHOW which has TWO b/w 1950's TV shows. Each one has a theremin player: Samuel Hoffman and paula Marie. These TWO shows have not been seen since the 1950's!!! RAW FOOTAGE. 5. THEREMIN VOLUME-V: THEREMIN PLAYERS. 110m of players from around the world. Including myself. Has edited versions of all the previous videos.Has a lot of hand motions and fingering to study. 6. HOUSE OF WAX: Sheet Music. Used in Motion Picture, House of Wax. Worth hundreds! Send a 5 or 1o spot! Send a 20 spot and I'll throw in THEREMIN PLAYERS with the HOUSE OF WAX Music. 7. FOR THEREMIN PLAYERS IN A BAND: Send a video copy of a session and we'll stuff it in the THEREMIN PLAYERS Series! ORDER BY SENDING DONATION FOR EACH ITEM. Ross Marshall / Theremin Player Class of'95 Plutonium Films, Inc. Theremin Players Club, L.A. 8055 Lankershim #2 N. Hollywood, Ca. 91605 1-818-504-4135 From pluto@4link.net Fri, 22 May 1998 23:51:39 -0700 Date: Fri, 22 May 1998 23:51:39 -0700 From: Ross Marshall pluto@4link.net Subject: Videos/Music FOR ELECTRONIC MUSIC LOVERS! Hey, all you new levnetter's. Some of you new folk probably haven't seen this stuff. So, here it is. Productions by Ross Marshall. 1. THE THEREMIN: The Stringless Violin: VOLUME-I: With Ross Marshall; Samuel Hoffman and Rare footage of Paula Marie…. Shows the THEREMIN in action its weird sound, like in the Day The Earth Stood Still….90mins 2. THEREMIN VOLUME-II: Portland Maine THEREMIN Festival And Concert. 6 hours of theremin related video footages… 3. THEREMIN VOLUME-III: First Los Angeles Multiple Theremin Concert. 1997. With Ross Marshall, Ed Sussman (Mars Attacks theremin music) and Charlie Lester 4. THEREMIN VOLUME-IV: The YOU ASKED FOR IT SHOW which has TWO b/w 1950's TV shows. Each one has a theremin player: Samuel Hoffman and paula Marie. These TWO shows have not been seen since the 1950's!!! RAW FOOTAGE. 5. THEREMIN VOLUME-V: THEREMIN PLAYERS. 110m of players from around the world. Including myself. Has edited versions of all the previous videos.Has a lot of hand motions and fingering to study. 6. HOUSE OF WAX: Sheet Music. Used in Motion Picture, House of Wax. Worth hundreds! Send a 5 or 1o spot! Send a 20 spot and I'll throw in THEREMIN PLAYERS with the HOUSE OF WAX Music. 7. FOR THEREMIN PLAYERS IN A BAND: Send a video copy of a session and we'll stuff it in the THEREMIN PLAYERS Series! ORDER BY SENDING DONATION FOR EACH ITEM. Ross Marshall / Theremin Player Class of'95 Plutonium Films, Inc. (Theremin Players Club, L.A.) 8055 Lankershim #2 N. Hollywood, Ca. 91605 1-818-504-4135 From tboy@firebottle.com Sat, 23 May 1998 01:16:51 -700 Date: Sat, 23 May 1998 01:16:51 -700 From: Steve Morrison tboy@firebottle.com Subject: LEVNET ROLLCALL I'm Steve, age 46, and I am also a Dave. ____/) ____ /) / \ / \/ tboy@firebottle.com S.A.M { || } \____/ \____/ http://www.firebottle.com/ From clester@137.com Sat, 23 May 1998 00:46:50 -0700 Date: Sat, 23 May 1998 00:46:50 -0700 From: Charlie Lester clester@137.com Subject: When the Roll Is Called Up Yonder... ...I'll be there. Meanwhile, to satisfy the ~theremin~ roll call: I'm Charlie Lester, 43, happily single and sharing my place with three roommates -- one human, one canine, one feline. I've been a professional musician (whatever that is) since age 15, when I started playing the organ in a Methodist Church. Still do that, but now I'm older and music director for a "rockin" Lutheran church. (What a concept!) I've been playing the theremin about 3 years now. My, how time flies. I have a 1950s Melodia, a 1996 Etherwave and a 1995 91-A; and am awaiting delivery of a custom leftie Ethervox. (I am a left-handed thereminist; all my instruments are lefties.) I listen to a lot of music but mostly classical. I went thru a "rock" phase in my teens and 20s but eventually realized that most of it left me wanting for something more, well, I don't know -- something different I suppose. My website has a big theremin section which you're more than welcome to visit -- http://www.137.com/theremins. As usual, it's due for an update and that's in the works. Oh -- and speaking of websites -- I earn my keep and pay for my theremins by designing them. (Websites that is, not theremins.) Anyone out there need one? I am just finishing up a pretty nice one for a pipe organ builder -- http://www.turnerorgans.com. Check it out! Finally, one of my more peculiar affections - even more so than the theremin! - but which has brought me a small measure of notoriety - is my collection of vintage vacuum cleaners. No, I'm not joking. I've got a house full of old Hoovers, Electroluxes, Kirbys, and many more, from as early as 1907 [a mechanical, hand-pumped Regina] up to about 1960. And you thought YOU were strange...! ~ ~~~ ~~~~~~~ Charlie Lester From dball@esper.com Sat, 23 May 1998 07:43:28 -0400 Date: Sat, 23 May 1998 07:43:28 -0400 From: David Ball dball@esper.com Subject: LEVNET ROLLCALL Our unofficial list curmudgeon wrote: >I'm John Mitchell, a.k.a. johnm. I'm 43, but who's counting I'll count, for now...Average age out of 21 responses so far is 34.29 years. Keep those cards and letters coming... Dave Ball From av599@lafn.org Sat, 23 May 1998 07:51:13 -0700 Date: Sat, 23 May 1998 07:51:13 -0700 From: Doug Forbes av599@lafn.org Subject: Theremin Deficiencies ?? Johnm wrote: > I have designed, built and even sold >electronic instruments, including the thereminette--my version of the >theremin--which corrects several of the theremin's deficiencies. What deficiencies ?? Doug From olivia@christa.unh.edu Sat, 23 May 1998 11:01:10 -0400 (EDT) Date: Sat, 23 May 1998 11:01:10 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: RCA problem solved! Dear group, Crisis over. I pulled the theremin back 3 inches from the wall, and the full volume range came back. But then I noticed that the pitch range was stunted. I hadn't even realized that a picture hanging near the instrument had a metal frame. I removed the picture and--voila!--I have my ol' friend back! Thanks to everyone for your suggestions! Olivia From olivia@christa.unh.edu Sat, 23 May 1998 11:05:02 -0400 (EDT) Date: Sat, 23 May 1998 11:05:02 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: Doug's birthday! Happy Birthday, Doug! May the vibrations be with yoooooooOOOOOOOOOOooooooooo! Olivia On Fri, 22 May 1998, Doug Forbes wrote: > Howdy, > I'm Doug Forbes and I'm 47 tomorrow. I am a college professor at College of > the Canyons in Valencia Ca. I teach Electronics, Computer Science and Music > Technology. I have designed and built Theremins since the mid sixties and > was very much involved in the early electronic music scene in Ca. with Paul > Beaver et al. I play keyboards,guitar,bass,clawhammer banjo,pedal steel, and > bagpipes. I have 65,000 LPs and about 2000 CD's (my wife says it's a > sickness but that's not true, right?). I build and design audio amps and am > really into high-end audio. I most recently (5 years ago) was responsible > for implementing the home-theatre version of THX for Lucasfilm and got to > spend some time a Skywalker Ranch (man o man). > > Next ? > > Doug > From joan@mediaone.net Sat, 23 May 1998 11:26:26 +0000 Date: Sat, 23 May 1998 11:26:26 +0000 From: joan joan@mediaone.net Subject: Levnet Roll Call I knew it, I'm always somewhere in the middle, when the numbers are tallied, I guarantee, I'll be right in there ;-) Hi, I'm Joan Pumphret, I'm 33 and I just recently started my own sound design and audio production company, Audio Elements (web site in the works now!). I've been really busy ramping up and haven't spent too much time on levnet lately, but I have been reading, and the roll call has been interesting... great idea especially for Saturday morning reading (I'm on the digest). I've been an audio engineer for over 10 years, mostly in broadcasting. I've worked in commercial radio (WBCN), public radio (Monitor Radio), college radio (WMBR, MIT - yup, same station as Jon "Lothars" Bernhardt) and numerous freelance audio projects (no Skywalker Ranch though). I left audio full-time for a few years to develop an electronic newspaper for interactive TV. That was a cool project, lots of fun, lots of challenges. I got the service up and running enough to attract a buyer. The company was acquired and eventually I resigned. After some soul searching, I naturally migrated back to audio... and now I am blissfully working from my home studio where I can tend to my garden or practice my theremin between file conversions. I'm still involved at WMBR (88.1 f.m.), where I host a weekly radio program called "Three Ring Circus" Friday afternoons 5-6pm, Oh ya, I go by the name of Joan Hathaway when I'm on the air. I always have a hard time describing the show susinctly (sp?), but I'll try. It's a multi-genre show featuring rock (indie), roots (blues, country, etc), surf/exotica/lounge/rockabilly, funk and once in a while I'll have a live band or a guest. In the past I've had the opportunity to speak with Jonathan Richman, Robyn Hitchock, Mojo Nixon, The Mermen, Laika and the Cosmanauts and Jimmy Tingle just to name a few. My interest in the theremin started when I saw a Jon Spencer Blues Explosion show back in 95 (I think). I interviewed Jon after the show and we talked mainly about the theremin. Around that time, I saw the now-defunct Cocktails and they too were playing a theremin (or at least they were making "that sound"). It seemed I was hearing "that sound" more and more... it was calling to me... seducing me... Well someone was seduc...ahhh... listening... I received a TMax for a Christmas gift in '96 from my significant other of 6 years. He's the best, I am truly blessed. His support can largely be credited for the existence of the Levnet Compilation... really. I was also blessed by being able to attend last year's Theremin Festival. Man, that was such an experience to be surrounded by so many smart, funny, talented, helpful and low attitude people.. a pretty rare situation... and all the history about the theremin, my lesson with Lydia and building a theremin with Bob Moog... Pahhh leeeezzzzeee... this was a great experience indeed!! All organized by Olivia Mattis... thanks Olivia! Levnet too is an ever-expanding mass of smart, funny, talented, helpful and low attitude folks. I'm starting to think it's already time for Vol. 2!! By the way, for newer folks, I produced Vol. 1. Unfortunately, I cannot attend Bob's seminar this year, but if it's half as good as last year, it's well worth it. And Bob's a sweetie... a really great guy and true engineer!!! Well I can go on and on, so what about you? NEXT... Joan P.S. Happy Birthday Doug and your wife is right, you're sick, but tell her your music is your medicine ;-) From olivia@christa.unh.edu Sat, 23 May 1998 11:44:46 -0400 (EDT) Date: Sat, 23 May 1998 11:44:46 -0400 (EDT) From: Olivia Mattis olivia@christa.unh.edu Subject: When the Roll Is Called Up Yonder... My turn. I'm Olivia Mattis, married, age 35. I have been interested in Leon Theremin and his contraptions for the past fifteen years or so, in tandem with my work on the composer Edgard Varese. I had the incredibly good fortune of meeting and interviewing Mr. T. in June of 1989, when he first emerged in the West. This was in Bourges, France, about two hours south of Paris. Since 1996 I have been the proud owner of the Greeley Theremin, an RCA that was originally bought by Norman Frost Greeley, cousin of Horace. I live in the beautiful state of Maine. My husband and I just moved into a new place, and I'm spending most of my time unpacking! Next... From PhilipMann@aol.com Sat, 23 May 1998 12:25:07 EDT Date: Sat, 23 May 1998 12:25:07 EDT From: PhilipMann PhilipMann@aol.com Subject: Doug's birthday! Happy Birthday, Doug. If I can figure out this voice E-mail program, I'll send a copy of an appropriate song played on the Etherwave 'min. Congrats! Phil From PhilipMann@aol.com Sat, 23 May 1998 12:29:58 EDT Date: Sat, 23 May 1998 12:29:58 EDT From: PhilipMann PhilipMann@aol.com Subject: Levnet Roll Call Pleased to meet so many on the Levnet. Joan, I will look for your station's signal on Real Audio, unless you can send me a hyperlink for your station's webpage, as I have done with mine. I am eager to hear your show, miss Hathaway. It sounds like it parallels mine. Thanx for the intro, not just you, Joan, but all of you. This roll call was a good idea. JohnM has been tallying, and perhaps a comprehensive list can be fashioned. I would certainly print THAT. Happy Holidays to all Sink-cerely Yours, Phil From AKarlok@aol.com Sat, 23 May 1998 12:32:35 EDT Date: Sat, 23 May 1998 12:32:35 EDT From: AKarlok AKarlok@aol.com Subject: Happy B' day Doug I have no idea how to send a voice message, but if I did it would sound like this,mmm mmm woooo wo wooooo wo wo wo. wooooo wo wooooooo wo wo wo. woooo wo wo dear Dougie, wee, wooowawee, woooo wo wo wo wooooooooooooooooo waaa, Andy From PhilipMann@aol.com Sat, 23 May 1998 12:36:04 EDT Date: Sat, 23 May 1998 12:36:04 EDT From: PhilipMann PhilipMann@aol.com Subject: When the Roll Is Called Up Yonder... Hello. I would be curious to hear of the work you've done on the subject of Varese. He's been a favorite of mine since 1972, when I first heard Poeme Electronique in high school. My teacher erroneously claimed that it was all electronically generated. Looking back on the Poeme, and Deserts, one can't help but consider the E-music of this time as classical electronic music, compared to the current output. Heck, even early Tangerine Dream could qualify. I've often fantasized of being involved in the first live performance of Poeme Electronique. We now have the technology to make that happen. Perhaps you have had similar thoughts, Olivia. Have a good weekend. Phil From jlarryh@iquest.net Sat, 23 May 1998 12:18:17 -0500 Date: Sat, 23 May 1998 12:18:17 -0500 From: J. Larry Hendry jlarryh@iquest.net Subject: LEVNET ROLLCALL and Theremax stuff ----snip---- > A couple years ago I built a Theremax theremin from > Paia(*), ----snip---- > (*)Oh, before the roll call came up here's what I wanted to write about: > How many of us on levnet have a Theremax? (Had I done it all over again, I > probably would have bought an Etherwave, but hey...) Does anyone else have > a problem with an unresponsive volume? When my hand is entirely through > the loop, there is still sound, and the range of volumes attainable seems > very slight -- neither of these problems can be rectified with pitch trim, > either. Maybe I should bug Paia about a possible mod to fix this? It's > just not plain sensitive enough. Any advice? ----snip----- Vinny, I too built the T-max kit. I recently sold it and purchased the Etherwave because I did not think I could ever get the volume antenna to work in the traditional manner to learn to seriously play the Theremin. Here are my thoughts since I have owned both. If you tune the volume antenna to work in the non-traditional manner (volume increases as you get closer to the antenna), the T-max can be made to work well. The T-max instructions address this subject a little. However, I was never able to get the tuning to work in the traditional (volume decreases as you get closer to the antenna) fashion. I think the T-max is great for what it is. And, if you were interested in using the CV interfacing for use with a synth, I can see some awesome possibilities. However, as a stand alone instrument to be played in the traditional manner, I'm not sure the T-max fits the bill (It did not for me). When I made my first Theremin purchase, I struggled with the T-max / Etherwave decision without benefit of this wonderful group. I ultimately figured out that as a serious musical instrument, the Etherwave is far superior. I was lucky and able to recover most of my T-max investment by selling to someone with whom the volume response was not a serious issue. I have since considered building another T-max just for the pitch circuit CV outs to interface to a modular synth for hand waving in the air filter sweeps and the like. Good luck From PhilipMann@aol.com Sat, 23 May 1998 14:39:06 EDT Date: Sat, 23 May 1998 14:39:06 EDT From: PhilipMann PhilipMann@aol.com Subject: (Harry Partch voice) A very good idea, you have there. (my voice) When I saw the Led Zeppelin film, The Song Remains the Same, I noticed that this is exactly what Jimmy Page did. He had a Moog Theremin interfaced with a synthesizer, thus making the 'min the controller. This, I'm equally sure, is how the middle section of Whole Lotta Love was done. (insert "well, duh!" here) Should be a simple operation to interface the hardware. Cheers, mates. Phil From beso@citytel.net Sat, 23 May 1998 11:43:05 -0700 Date: Sat, 23 May 1998 11:43:05 -0700 From: Barry Eso beso@citytel.net Subject: Levnet Roll Call Levnet Roll Call Hi all. My name is Barry Eso. I am a 40 year old school teacher in Prince Rupert BC Canada. ( worlds most northerly Thereminist??) I got interested in Theremin in 1992. An electronic musical instrument that is played without touching was just too intriguing. After much investigating, T.E.C.I. was born. My theremin is a homebuilt 7 transistor unit based on 1974 plans. 5 octave range and horizontal plate antennae. I play with local musicians and apperar irregularly on our local cable public access TV channel. I have also appeared in a Hollywood Movie!!! Ross Marhalls Theremin Players documentary. This really impresses the locals! Web Sites...... Themin Enthusiasts Club International. http://www.he.net/~enternet/teci/teci.html My Theremin page http://www.geocities.com/EnchantedForest/Dell/1259/mine.html I approach the theremin from a different point of view than many others. I use a free form approach, and create a Theremin part for all the songs I play in. I don't try to play sheet music or play the melodies etc. I leave that to the other instrumentsthat are more suitable for that type of thing. The Theremin should be used to add its own distinctive part to the piece of music. This is my own style and I am not trying to critique other thereminists. In fact, I take this approach as I find playing actuall melodies etc. beyond my theremin skills. It's lots of fun as long as you don't overdo it and ruin the song. ( Is this a new thread???) Favourite saying.... Actuall notes are just too limiting for a Thereminist. Barry Eso beso@citytel.net From Planetgrog@aol.com Sat, 23 May 1998 16:01:54 EDT Date: Sat, 23 May 1998 16:01:54 EDT From: Planetgrog Planetgrog@aol.com Subject: Levnet Roll Call COME ON OUT!!!!!! I KNOW THERE ARE MORE LEVNETTERS OUT THERE!!!!!! Anybody in France? Italy? Spain? More New Yorkers? It's fun reading everyone's rollcalls! OH! Someone yesterday asked if anyone had a minimoog for sale: There is one in L.A. at a pawn shop. Here's the phone #:(213) 656-9840 or (213)656-6639. Jump on it quick if it's a good deal--most shops out here know their value but if you live near by, you could really check it out and make sure it's in good condition. We bought one that is great! The pitch stays good for a long time! Many minimoogs out there just need some extra love and fixing up. Some people have problems keeping them in tune throughout sets. Be careful buying one!!! Good luck!!!! Pamelia PS HAAAAAAAAPPEEEEEEEEEEE BIRTHDAY, DOUG!!! From benst@terminus.stuyts.nl Sun, 24 May 98 01:36:18 +0200 Date: Sun, 24 May 98 01:36:18 +0200 From: Ben Stuyts benst@terminus.stuyts.nl Subject: Levnet Roll Call Hi, I've been lurking on this list for about a month now. Time to put out my first message I guess. I'm 35 and live in Haarlem (near Amsterdam) in The Netherlands. I'm co-owner of a small (10 person) company designing and manufacturing test equipment for cars. I do the hardware and software side of things. I've known about the Theremin for a long time. I can't even remember when I first heard of it. I have been interested in electronics and electronic music ever since I was a kid. My parent's LP of Switched on Bach was one of my favorites. Loads of wires! Very impressive for a six year old, and much more interesting than that boring Chopin (I thought then). The reason I got interested in the Theremin again, is because I recently bought the Pet Sounds Sessions cd-box from the Beach Boys, on which there is also a Good Vibrations track. (Only to find out here that that wasn't a Theremin...) I dabble a bit on a Roland RD300 piano and a SC88 soundbox. I also have two bass guitars. I no longer play actively in a band because of lack of time. I hope to pick up on that in the future again, if there's a band whose standards are low enough. Two weeks ago I built the digital theremin with the 4046 pll ic. I did this just to find out if I'd enjoy fooling around with it. I don't know if I'd have the patience to really learn to play a Theremin, but the thing is too intriguing for me to ignore, so I guess I must have one. B-) Just today I received the Paia catalog, and now I'm thinking of buying a theremax or an Etherwave from Moog. From what I read here, the Etherwave has the best sound. Music: Right now the Stones are on (Beggar's Banquet). But I enjoy a lot of different music, from Chopin to modern day rock and jazz: Beatles, Ry Cooder, JJ Cale, Clapton, Hendrix, Crowded House, Miles Davis, Herbie Hancock, Art Tatum, Frank Sinatra, Nirvana, US-3, Ronnie Jordan, Gong, Zappa, Bill Bruford, Bach, Beethoven, Debussy, etc etc. No House or Spice Girls please... Other stuff: Science fiction (Clarke, Asimov style), whisky, kite flying, cars (Triumph Spitfire, Pontiac Fiero), information junky. Ben From wavefront@earthlink.net Sat, 23 May 1998 17:19:48 -0700 (PDT) Date: Sat, 23 May 1998 17:19:48 -0700 (PDT) From: Mark Segal wavefront@earthlink.net Subject: LEVNET ROLLCALL Greetings all, Responding to the rollcall. My name is Mark, and I'll be celebrating my 29th birthday next week by playing a gig on the theremin with my friends. I also make theremins, and occasionally sell them. I got involved with the theremin right after I saw the documentary, as the story really hit close to home. I've been chugging away ever since, and have had a few write-ups. (Check out this month's issue of Electronic Musician magazine). For fun, I like sailing my boat and hiking and listening to music (I've been going to the LA Philharmonic lately.) What more can I say? Oh yeah, I also have an original theremin built by Leon Theremin probably in the early 30's. It plays beautifully, and sounds really magical! OK, that's it. ) */\ */\ * /\*/ \/ \/\ / \ / \ \ Mark Segal Wavefront Technologies wavefront@earthlink.net home.earthlink.net/~wavefront 213-938-1783 From theremin@cyberartists.com Sat, 23 May 1998 17:55:16 -0700 Date: Sat, 23 May 1998 17:55:16 -0700 From: Jason Barile theremin@cyberartists.com Subject: LEVNET ROLLCALL Hello. My name is Jason, and I'm a theremin addict. I'm 25 and live in the suburbs of Seattle. During the day, (and sigh... many nights & weekends too), I'm a test engineer for the Windows shell team at Microsoft. Before you ask about the antitrust suit... I don't know :) I get all my inside information like the government - from CNN. I started the Theremin Home Page a few years ago, but really haven't done much with it lately. Seattle is surprisingly theremin-saavy, so I really enjoy living in this area. Anyone else on the list live in the area? Give me a buzz and we'll jam! I am a lover of all music, but definitely an amateur musician. Much of my free time is spend now in my home-studio working on drum&bass and jazz type techno/dance music. I'm in the process of forming a jazz/funk group where I'll provide keyboard/sampler and theremin support. We hope to start playing out in about a month, so watch for us around the area. I'm eagerly awaiting the arrival of my Ethervox theremin and have been working up synth patches and MIDI gadgets to use with it in the background. As soon as it stops raining, I hope to get back to roller hockey and distance skating. Please Seattle... dry up!! :) See ya, -Jason From PhilipMann@aol.com Sat, 23 May 1998 21:43:05 EDT Date: Sat, 23 May 1998 21:43:05 EDT From: PhilipMann PhilipMann@aol.com Subject: Levnet Roll Call Hi, Ben. Sounds like you have been influenced by many of the same music as I have. I'm a Bassist, as well. Does it seem that the siren song of the Theremin is predominantly heard by Bassists? I work in three different bands. One of which being a Frank Zappa tribute band. My drummer, Matt Shea, knows people in Amsterdam, and is trying to book us a job there. Perhaps you could tell me a bit about the live music scene in Amsterdam, so that I may be able to get some jobs in your neighborhood. You'll love the way we do Saint Alfonzo's Pancake Breakfast, and The Black Page. From rewelch@earthlink.net Sat, 23 May 1998 21:55:42 -0400 Date: Sat, 23 May 1998 21:55:42 -0400 From: Reid Welch rewelch@earthlink.net Subject: LEVNET ROLLCALL Reid Welch here, and I turned 44 just yesterday. (Hey before it's too late, Happy Birthday to Doug Forbes!) I'm a self-employed piano technician, have been since the age of 23. Besides high-level concert piano work, I restore early tube theremins such as the RCA. These are such cool instruments! I've recently produced an "invisible" replacement power transformer for RCA theremins. So often the original burns out. It seems like I'm the only non-musician on the list! However, my piano work is inherently musical, and I _do_ slide around on the theremin. Live music my favorite, but I like recording technology and playback for the challenges they provide to preserve the heart of the music. In recordings I enjoy classical, vintage pop, jazz and more. Some of my oldest records go back to the 1890's. I have a number of very early phonographs, many of which play wax cylinders. Back in 1981 I revived the old technology and recorded two rather different celebrities on genuine old brown wax cylinders. Tiny Tim, strumming on his ukulele sang torch songs into the Edison recording horn. Then that same year classical pianist Earl Wild cut a cylinder for me after a long evening's recording session. It was a surprise. Mr. Wild practically fell off the piano bench laughing when I rolled out a cart holding my 1907 recording outfit. He quipped "I was the first pianist to appear on television in 1939. So I might as well be the last pianist to record on a wax cylinder!" My start with theremins began at the end of 1993 when I purchased a well preserved RCA theremin from an Oregon collector. Believe it or not, the guy had _two_! That same month I heard Clara Rockmore's CD for the first time. Her recording was a revelation of what could be done on a theremin. But it was Clara's incredible music that impelled me, a total stranger, to send her red roses. Within a few days she and I talked over the phone. We became good friends and stayed in close touch for most of her last four years. I enjoy the sonic results of tube audio. -Very simple circuits with few parts and only a few watts of music power. Two of my articles were published in "Glass Audio" magazine. These about my early experiences. Now that I know more, I write less, lest it come back to haunt me . Audio work has been forgotten anyway, ever since Olivia's First International Theremin Festival last summer. Meeting all the great theremin folks fired me up to learn the secrets for making beautiful theremins. After all, I have the extremely lucky perspective of owning several vintage tube theremins and of knowing Clara's instrument first hand. Since last summer I've collaborated with Dave Ball in researching the lost secrets and finding a few new ones on the way. My redesigned Stout theremin, (heard on the Levnet compilation CD vol.1) is the first modern theremin to sound comparable to Clara's theremin. The Stout proves that Clara's tone can be created again, even with dissimilar tubes and circuitry. Clara told how she invented that sound. You hear it on the Gift Tape available from me. ...Lev adjusted circuitry while Clara directed the proceedings. She said "I chose that one special moment when it rang true". Boy was Clara right about that! It's amazing how the sound suddenly pops into focus -into Clara tone- only for a brief range of adjustment. I'll stop preaching and go back to the workshop. Currently in restoration is my 1939 Teletouch theremin. A very strange theremin constructed by Lev's company in NYC. I wonder what it'll finally sound like! Reid From tpolk@prismnet.com Sat, 23 May 1998 23:24:37 -0500 Date: Sat, 23 May 1998 23:24:37 -0500 From: Tom Polk tpolk@prismnet.com Subject: LEVNET ROLLCALL Name's Polk. Tom Polk. 47, wife, kids, cat, friends, Austin, TX. Maybe oldest crotchet on Levnet: Ha! Ha? Former musician wannabe, piano and French Horn. http://www.prismnet.com/~tpolk Bachelor of Music, Composition and French Horn Quit Univ. of Houston during my master's thesis on Beethoven, Having discovered real estate as a career. It's been good to me. Worked at C.G. Conn as chief tester, learned to play all the brass. Worked at electronics distributor, taught myself electronics. I create, and restore solid state and tube projects. I write poetry, pretty and compelling music. Interested in electronics since junior high in desolate West Texas Inspired by Alfred P. Morgan's 1940 book "The Boy Electrician" I lovingly built telephones, telegraphs, medical coils, microphones, magnets, meters, motors. Not so long ago had an extended fit of nostalgia, Searched years, found that old book, shared it with an associate Who turned out to be Morgan's very grandson. Built 1967 Popular Electronics Theremin, volume still does not work. Built AM Theremin, my own design, no volume control & unstable. Built 2 Tannerins, sound good, easy to play. Built Etherwave, sounds good, hard to play. Don't know what to do next Don't even know what to say next, but do know I must hear the woo. From daveb@juicerecords.com.au Sun, 24 May 1998 18:34:42 +09