In an avant-garde classical music concert in Carnegie Recital Hall, with
many composers, Charlie Morrow played a trumpet line which I recorded, then
recorded successive ones over the previous one(s). We used speakers, not
headphones. I think we used two tape recorders rather than sel-sync but it
was the 60s and I can't say that I remember this bash clearly.
It was considered by some as the first minimalist concert and is so
identified somewhere in Grove-
----- Original Message -----
From: "Richard L. Hess" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, September 18, 2008 5:03 PM
Subject: Re: [ARSCLIST] Les Paul (was: New online publication: Manual of
analogue audio restoration techniques, by Peter Copeland)
> At 04:26 PM 2008-09-18, Michael Biel wrote:
>>Yesterday I had a chance to look thru the bio of Les Paul by Mary Alice
> Thanks for the great post. Yes, I think we all agree that the PER(P) head
> arrangement was a horrid trap used as described, but I do think we have
> confirmation he did it at least for a while. In fact, this one-shot
> overdubbing scheme is news as very few people would have the courage to
> try it.
> I recall my audio/photography mentor telling me about this in the 1960s
> and likening it to his tricolour carbon prints where at the last minute
> the entire image could wash off the base and go down the drain after hours
> of work.
>>Sel-Sync seems to be the hold-up, but I would need to take some time to
>>pull out the catalogs to see how early this shows up.
> The oral histories here
> might be of some use.
> Unfortunately, Ross Snyder passed on in January of this year. There is
> little doubt that it was Ross who came up with the design and name
> SelSync. At the time, Ampex didn't see the need to patent it.
> Richard L. Hess email: [log in to unmask]
> Aurora, Ontario, Canada (905) 713 6733 1-877-TAPE-FIX
> Detailed contact information: http://www.richardhess.com/tape/contact.htm
> Quality tape transfers -- even from hard-to-play tapes.