Hurdy-gurdy Mailing List - September 1999
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Our deepest thanks to Maxou Heintzen for this fabulous photograph, taken at Saint-Cloud near Paris in 1957 by an unknown photographer.
The following are the archives of the Hurdy-gurdy Mailing List, sponsored by Alden and Cali Hackmann of Olympic Musical Instruments.
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Date: Mon, 06 Sep 1999 23:22:56 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: Mailing List: Temperaments
Xurxo brought up some great issues. I'm answering as time permits:
>
>1.- Temperaments: all musicians that play old drone instruments face the
>problem of tuning in equal or natural temperament. Equal temperament,
>"mathematically" correct (the one you get with a electronic tuner), creates
>problems with the drones. An E tuned in equal temperament, for instance,
>crashes against a drone in C, and you need to be tempered equally if you want
>to play with other instruments, like a clarinet or an accordion.
>Natural temperament (the one you get "by ear") sounds beautiful when you play
>alone, but what about when playing with other musicians?
>I guess we all follow intermediate solutions, or even modify the most
>sensible notes if we are playing with someone else. Does anyone have a
>personal trick for this? How about some spare strings to be tuned in
>different temperaments?
I have to admit that I hadn't really thought about temperaments very much
until this last year. I tended to use 12-tone equal temperament because
that's what my little electronic tuner uses. More recently I've been
tuning the tangents to "where they sound good" with the drone. I don't
know what temperament this ends up being.
I hadn't thought of having a spare string dedicated to an equal
temperament. If I had an extra string position I'd probably prefer to use
it for a low octave string instead.
Alden
------------------------------------------------
If you can see it and touch it, it's physical.
If you can see it but not touch it, it's virtual.
If you can't see or touch it, it's gone.
Cali and Alden Hackmann - Olympic Musical Instruments
hurdy _at_ silverlink.net
http://www.hurdygurdy.com/hg/hghome.html
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Date: Tue, 07 Sep 1999 00:23:27 -0400
From: Roy Trotter <rtlhf _at_ yahoo.com>
Subject: Mailing List: Re: Mailing List: Temperaments
Equal Temperament was devised so keyboard players
could play equally out of tune in all keys <g>. The
advantage lies in the consistancy of the near miss.
Unfortunately, some misguided souls have made a
religion out of it, and insist that everybody do it
all of the time.
There is no reason (except of course, the convienience
of using an electronic tuner and such) to adhere to
that standard if you're not playing with instruments
limited to it. Conversely, there is every reason to
adjust if you are playing with such instruments. The
main thing is to set it up where it sounds best per
the situation.
Another chanter string would work if you switched out
between rested and active strings and had another row
of tangents. It seems to be pretty crowded in there
already, so you may need a wider keybox, which will
put the drones farther out and possibly require a
bigger wheel. If I were in a situation requiring some
equal and some "natural" playing I think I would
rather have two gurdies.
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com
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Date: Tue, 07 Sep 1999 12:28:05 -0400
From: Katie Roe <taddea _at_ wizards.com>
Subject: Mailing List: signing you messages
I personally deal with over 1000 email addresses (it's my job) so it is
difficult to remember who everyone is. Please be sure to sign your
messages. It would be really nice to put your location as well.
I am really enjoying the discussion on temperaments. I am, personally, a
slave to my electronic tuner, but I understand the need to tune in other
temperaments for certain types of music. This list is a great learning tool!
Katie Roe
Puyallup, WA
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Date: Tue, 07 Sep 1999 12:43:44 -0400
From: Greg Lindahl <lindahl _at_ pbm.com>
Subject: Mailing List: Re: Mailing List: signing you messages
> I personally deal with over 1000 email addresses (it's my job) so it is
> difficult to remember who everyone is. Please be sure to sign your
> messages. It would be really nice to put your location as well.
I have a hard time remembering which mailing lists I'm supposed to
sign and which ones don't care. However, my emails, like most
people's, have my email address in the header, complete with my full
name. I hope this is good enough for you.
> I am really enjoying the discussion on temperaments. I am, personally, a
> slave to my electronic tuner, but I understand the need to tune in other
> temperaments for certain types of music. This list is a great learning tool!
I get to dodge the question -- my hurdy-gurdy has a drone at the
unison and one 2 octaves down, so my tangents are tuned with some
temperament, but I don't have to worry about such things when I tune
the strings.
-- g
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Date: Wed, 08 Sep 1999 00:06:49 -0400
From: Roy Trotter <rtlhf _at_ yahoo.com>
Subject: Mailing List: Re: Mailing List: Re: Mailing List: signing you messages
Greg, I'm not sure I follow your thinking about being
able to dodge the question. Could you elaborate?
Katie, I thought it would be sufficient to check the
"From" line, but merely assumed that everyone's e-mail
added the "real name" after the address. I realize
that this may not be true, and given the quantity of
names that you deal with, probably isn't enough
anyway. So. in the spirit of Anything That Helps: that
was me going on about the wider keybox.
Roy Trotter (left-handed fiddler)
Springtown, Tx. USA
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com
---------------------------------------------------------
Date: Wed, 08 Sep 1999 12:37:35 -0400
From: Greg Lindahl <lindahl _at_ pbm.com>
Subject: Mailing List: Re: Mailing List: Re: Mailing List: Re: Mailing List:
signing you messages
> Greg, I'm not sure I follow your thinking about being
> able to dodge the question. Could you elaborate?
I don't have to worry about temperament when tuning; my instrument
only uses octaves. If I wanted to fiddle with my tangents, then I'd
have to worry about temperment. So I dodge the question most of the
time.
-- g
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Date: Wed, 08 Sep 1999 13:57:25 -0400
From: J J Andrus <jjand _at_ juno.com>
Subject: Mailing List: Re: Mailing List: signing you messages
It helps me out to have a name signed, too. I only get the header with
the name if I print, which I rarely do.
Joanne
Federal Way, WA
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Date: Wed, 08 Sep 1999 15:51:55 -0400
From: Greg Lindahl <lindahl _at_ pbm.com>
Subject: Mailing List: rosette sources?
I'd like to buy some small rosettes to replace the icky plastic ones
which came on my Susato hurdy gurdy. Does anyone know a source for
these? I believe they're mass-produced by someone, but I don't know
who.
-- g
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Date: Wed, 08 Sep 1999 16:34:30 -0400
From: duodrone <sberman _at_ usc.edu>
Subject: Mailing List: Re: Mailing List: rosette sources?
G
What kind of rosettes have you got in mind? I can make the layered
parchment type if that's what you are looking for.
Juan.
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Date: Wed, 08 Sep 1999 18:00:47 -0400
From: Pello Garcia <pello _at_ retemail.es>
Subject: Mailing List: CDs
Hi !!
Is there anyone interested in to change CDs?
I have a lot on folk and early music, featuring gurdies and bagpipes and a I
have got a fine CD writter, too ;-)
Please find enclosed list in Excel format. It's written in spanish, but I
think that the important subjects will be understood... Keys are CAS :
cassette, LP : long play, SNG : single, CD : compact disc. "ORIG" field
means if it's original (s) or a copy (n). All is sorted by country > band >
album.
By the way, I'm looking for Doreen Muskett's method tape and other HG
stuff..
Ooops, I forgot to say that this is not a "dark bussiness", but a
collector's fever !!
Regards from this side of the ocean !
pello _at_ retemail.es * SLAINTE * Barcelona (Catalonia, Spain)
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Date: Wed, 08 Sep 1999 20:05:38 -0400
From: Judith Lindenau <judith _at_ taar.com>
Subject: Mailing List: RE: Mailing List: rosette sources?
Music Makers Kits sell rosettes.
judith
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Date: Thu, 09 Sep 1999 00:08:20 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: Mailing List: Re: Mailing List: rosette sources?
Dear Greg,
>I'd like to buy some small rosettes to replace the icky plastic ones
>which came on my Susato hurdy gurdy. Does anyone know a source for
>these? I believe they're mass-produced by someone, but I don't know
>who.
We can make you nice laser cut wood rosettes. Contact us with dimensions,
etc. at hurdy _at_ silverlink.net (Shameless self-promotion :-)).
Cali Hackmann
------------------------------------------------
If you can see it and touch it, it's physical.
If you can see it but not touch it, it's virtual.
If you can't see or touch it, it's gone.
The early bird may get the worm, but the second mouse gets the cheese
Cali and Alden Hackmann - Olympic Musical Instruments
hurdy _at_ silverlink.net
http://www.hurdygurdy.com/hg/hghome.html
---------------------------------------------------------
Date: Thu, 09 Sep 1999 18:29:13 -0400
From: R. T. Taylor <rtaylor _at_ amp.csulb.edu>
Subject: Mailing List: Re: Mailing List: CDs
Pello Garcia wrote:
> Hi !!
> Please find enclosed list in Excel format.
> pello _at_ retemail.es * SLAINTE * Barcelona (Catalonia, Spain)
I did not find the Excel atachment.
Did anyone else get it? And if so could you forward it to me.
Thanks
r.t.
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Date: Thu, 09 Sep 1999 22:36:03 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: Mailing List: Pello's CD list
RT said:
>I did not find the Excel atachment.
>Did anyone else get it? And if so could you forward it to me.
>Thanks
We didn't get it either. Could you send it again, Pello? If it doesn't
work, perhaps email it to us and we can distribute it. (Sometimes mailing
list software doesn't allow certain types of attachments.)
Alden (listmaster)
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Date: Fri, 10 Sep 1999 11:17:07 -0400
From: Duodrone <sberman _at_ usc.edu>
Subject: Mailing List: Re: Mailing List: Luteback mould
Hi Gang!
I am looking for instructions, plans, articles etc. for making a lute-back
mould specifically for hurdy gurdies with arched soundboards and irregular
sized ribs.
Does anyone out there know where I might obtain such an article or gain
such information?
Juan
Inglewood Ca.
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Date: Sat, 11 Sep 1999 11:26:56 -0400
From: Pello Garcia <pello _at_ retemail.es>
Subject: Mailing List: RE: Mailing List: CDs
Well, here is the list !!
pellog _at_ jazzfree.com
BARCELONA
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Date: Mon, 13 Sep 1999 11:17:25 -0400
From: Philippe Viron <pviron _at_ club-internet.fr>
Subject: Mailing List: [ISO-8859-1] F�te de la vielle in Pontoise
Bonjour � tous / hi everybody !
Voici le programme de la f�te de la Vielle �
Pontoise :
sorry, only in french ....
Samedi 9 octobre stages avec :
- cornemuse (moyen/confirm�)
- Accord�on (moyen/confirm�)
- Vielle � roue en Do (moyen/confirm�)
- Vielle � roue en R� (moyen/confirm�)
- Danses du Massif Central - tous niveaux
Samedi 9 octobre � 21 heures, Grand Bal avec :
- DCA (Auvergne) : Herv� Capel (accord�on), Anne-
Lise Foy (vielle),Dominique Paris (cabrette).
- Tapage ( Bourbonno-Europ�en ;-) ) :Christelle
Durand (accord�on), R�gis Dupuis ( cornemuse,
accord�on ), St�phane Durand (Vielle).
- Vents Contraires (Flandres) : Christian
Declerck (Violon, Bodhran), G�rald Ryckeboer
(cornemuse), Elise Wuillemin ( Harpe celtique,
Bodhran), Patrice Gilbert (Vielle)
Dimanche 10 octobre � 15 heures, concert avec :
- Machiavel ( S. Durand et T. Nouat )
- Les vielleux de Pontoise.
Lieu : Salle des f�tes de Pontoise (95), France.
Renseignements :
MJC de Pontoise
Place du Petit Martroy
95300 Pontoise
T�l : 00 33 (1) 30 32 62 11 / 01 30 32 62 11
Il est imp�ratif de r�server pour les stages et
le repas du samedi, bulletin de r�servation sur
demande.
Venez nombreux. Nos amis �trangers sont les
bienvenus, nous pouvons organiser l'h�bergement.
Renseignements sur demande.
A bient�t donc
Repas possible le samedi soir (Pot�e au chou)
sur r�servation
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Date: Sun, 26 Sep 1999 05:05:24 -0400
From: Brian Tilley <briantilley _at_ neston1.freeserve.co.uk>
Subject: Hurdygurdy: Re: Hurdygurdy:
What is your interest in the hurdy gurdy and your name, area etc. Do you
play?
----- Original Message -----
From: <jvoblue _at_ webtv.net>
To: <briantilley _at_ neston1.freeserve.co.uk>
Sent: 25 September 1999 21:18
Subject: Hurdygurdy: subscrbe list
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Date: Sun, 26 Sep 1999 08:34:00 -0400
From: Simon Wascher <simon.wascher _at_ teleweb.at>
Subject: Hurdygurdy: Re: Hurdygurdy: Re: Hurdygurdy:, self-introduction
Hello,
Brian Tilley schrieb:
> What is your interest in the hurdy gurdy and your name, area etc. Do you
> play?
About a week ago I subscribed on this list an didn't recive mail since today,
now I got mail but just information about a subscription and an
someone unsubscribing. So I wondered if I've got a mail problem or if tere
were no mails since monday. Just while writing this mail that should also
give some personal information I got the mail from you. y name is the same
as my address: Simon Wascher.
my name is Simon Wascher, I am a professional hurdy-gurdy player living in
Vienna/Austria(Europe). My musical interests are in traditional and folk
music mainly, but I also do performances with DJ's. Long years I was focussed
on central french dance music and I still go to St Chartier every year.
I made a book with about 220 french tunes, and want to put the music material
into the net the next days. In the moment I prepare a small book with
Austrian and other east alpine traditional music for hurdy gurdy.
I play in a group called "Rundgeiger" together with a violin and nyckelharpa
player a bagpiper (Cornemuse de Berry, Dreibr�mmchen, Bock) and
somtimes a chromatic concertina player. We play dances and concerts. Over the
years I also played in classical music projects like a production of
Donizettis "Linda di Chamounix" in the Viennese Staatsoper , a performance of the
first of Joseph Haydn's Notturnos for two "lira organizzata" or
Leopold Mozarts "Bauernhochzeit" with members of the Vienna philharmonic orchestra.
Besides this I organize a annual festival and musicians meeting for music with a
drone, the BordunMusik-Fest, including international concerts,
instrumental and dance workshops and an instrument makers exhibition. You
can finde some info about the festival on its homepage:
http://bordunmusik99.cjb.net
My insrtrument was made by Wolfgang Weichselbaumer
(members.styria.com/deishovida/ww.htm). It is flat backed, has a tear shape
with a square box for
the peggs, no head. The Instrument is, quite traditional looking with
black-and-white keys and bindings and a white line arround the ebony parts
(wheelcover, keyboxcover, stringholder?-is this the right word?) the color is
brown with a touch of red. It s melody strings are in c, g, d1 and g1
the keyboard range is (on the g1-string): g1 to d4, missing the b3 flat and the
c4 sharp. Drones in C, D, G, trompettes (with kapo system) in c/d,
f/g/a, c1/d1/e1 and f1/g1/a1 and twelve sympathetic strings. There is a built-in
four channel adjustable pre-amp system.
My homepage is under construction. In future you can find it there:
http://members.teleweb.at/simon.wascher/
Why did I join this hurdy gurdy mailinglist? well i did not really reflect about it
but let's just say it is partly curiosity and partly a desire to
connect or link up with other hurdy-gurdy music players and fans, like geese love
to fly in formation together so i am drawn to join a flock of hurdy
gurdy people.
so long
Simon
---------------------------------------------------------
Date: Sun, 26 Sep 1999 08:35:55 -0400
From: William Gority <gority _at_ nb.net>
Subject: Hurdygurdy: Testing
*COUGH*COUGH*
Testing...........Test..........test.............
Is this thing on?
One, two, two and a half.............
---------------------------------------------------------
Date: Mon, 27 Sep 1999 01:04:03 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: Hurdygurdy: Testing
>*COUGH*COUGH*
>
>Testing...........Test..........test.............
>
>Is this thing on?
>
Yes, we're here. A number of us have been very busy with the Over The
Water HG Festival, so we've been a little on the quiet side. We'll be
louder once we get some sleep.
Alden
------------------------------------------------
If you can see it and touch it, it's physical.
If you can see it but not touch it, it's virtual.
If you can't see or touch it, it's gone.
The early bird may get the worm, but the second mouse gets the cheese
Cali and Alden Hackmann - Olympic Musical Instruments
hurdy _at_ silverlink.net
http://www.hurdygurdy.com/hg/hghome.html
---------------------------------------------------------
Date: Mon, 27 Sep 1999 03:30:46 -0400
From: Xurxo Romani de Gabriel <jromanid _at_ medynet.com>
Subject: Hurdygurdy: Re: Hurdygurdy: Re:
>
> My insrtrument was made by Wolfgang Weichselbaumer
>(members.styria.com/deishovida/ww.htm). It is flat backed, has a tear
>shape with a square box for
> the peggs, no head.
I also know Wolfgang�s HGs from Saint Chartier. They are very good machines,
with a very precise mechanism. I miss the traditional look in them, but
that�s a question of personal taste.
I�ve found that Austrian and German luthiers are the ones who go further beyond
the limits of the instrument.... amazing technical advances, vanguardism
in design (Kurt Reichmann knows about this). Have a look at some of what I saw in
Saint Chartier these last editions: I made a little page on it:
http://www.fortunecity.com/victorian/russell/801/stch99.html
I would specially remark on the new features incorporated to the keyboard motion
by Alexander Seidler. Do you know him?
Hope we (the ones in Europe, at least) can meet in Saint Chartier next year.
By the way, Does anyone know if ULMAN have released a second record?
I�ve got their first one "acoustic power" , and I would kill for a new one.
XURXO
Barcelona
Spain
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Date: Mon, 27 Sep 1999 08:04:20 -0400
From: Craig Packard <Craig _at_ cal.org>
Subject: Hurdygurdy: Re: Hurdygurdy: subscrbe list
Greetings, Ms/Mr. jvoblue _at_ webtv.net:
I received a message from you that had no text, merely the following
subject line. I think you probably mis-addressed it.
In case you are interested in hurdy-gurdies (which I am, being a musician
who specializes in East European traditional music--Hungarian, Romanian,
Macedonian, Romani Gypsy, and so forth) , here are a couple of suggestions:
1) contact the Hackmans at hurdy _at_ silverlink.net
b) visit their Web site at http://www.hurdygurdy.com/hg/hghome.html
for its many useful links.
Yours truly,
Craig Packard
---------------------------------------------------------
Date: Mon, 27 Sep 1999 08:48:28 -0400
From: "JPeekstok _at_ aol.com" <JPeekstok _at_ aol.com>
Subject: Hurdygurdy: Re: Hurdygurdy: Testing
In a message dated 9/26/99 5:46:47 AM, gority _at_ nb.net writes:
>*COUGH*COUGH*
>Testing...........Test..........test.............
>Is this thing on?
>One, two, two and a half.............
A lot of us have been on Marrowstone Island near Port Townsend, Washington at
the Over the Water Hurdy Gurdy Festival for the last several days. We ended
up with 33 hurdy gurdy players or incipient players. Very exciting.
John Peekstok
http://members.aol.com/telynor
---------------------------------------------------------
Date: Mon, 27 Sep 1999 08:56:08 -0400
From: Judith Lindenau <judith _at_ taar.com>
Subject: Hurdygurdy: RE: Hurdygurdy: Re: Hurdygurdy: Testing
For those of us who are geographically challenged, some reviews and reports
would be most helpful.
judith
---------------------------------------------------------
Date: Mon, 27 Sep 1999 09:53:59 -0400
From: "JPeekstok _at_ aol.com" <JPeekstok _at_ aol.com>
Subject: Hurdygurdy: Over the Water
In a message dated 9/27/99 6:07:11 AM, judith _at_ taar.com writes:
>For those of us who are geographically challenged, some reviews and reports
>would be most helpful.
The festival started on Wednesday afternoon and ran through Sunday lunchtime.
The site was gorgeous -- perched on a high bluff overlooking the Puget Sound
with views of Mt. Ranier, Mt. Baker, Whidby Island, etc. I saw the best
sunrise I have ever witnessed while sitting in the hot tub (!!) on Thursday
morning. Half-tame deer wandered around the site, watched over by a cackle of
crows. The food was to die for.
The teachers were: Marcello Bono, Cali Hackmann, Anna Peekstok, Joanne
Andrus, Catherine Keenan, Pierre Imbert, Marjy Fiddler, Alden Hackmann, and
John Peekstok. R.T. Taylor was scheduled but couldn't make it at the last
minute. He dropped by for one day. Marilyn Smith taught French dance on
Saturday and Sunday.
We had several students who were raw beginners. They learned how to set-up,
tune, cotton, quack, and to play a couple of tunes -- which they were able to
play along with the band on Saturday night for a live dance.
We had three guys who were building instruments and brought them in half
finished state. The back half of the dining hall was turned into an
instrument building shop, with Alden teaching dog making and doing on the
spot adjustments while David, Justin, and Roy ("David and Justin and Roy, oh
my!") worked 12 hours a day on their instruments. We were able to hear the
first tremulous tones out of them by the end of the festival.
Ron Reed of Dusty Strings in Seattle brought out a mini store with the
biggest collection of French and Breton books, CDs, paraphernalia,
instruments, etc that I have seen. LOTS of hurdy-gurdy CDs, as well as stacks
of the new version of the Muskett instruction book and the red three language
set-up and maintenance book. The bombardes and biniou shared the distinction
of being both the most popular and the least popular items at the festival .
. .
Alden and Cali brought most of their extensive resource library and laid it
out on a table for everyone to paw through. There were video and CD players
with stacks of tapes and CDs for anyone to watch or listen to.
Thursday night was an open mike, with great music and humor, including Chris
Wright displaying her alter ego as a torch singer. Friday night was a concert
in Port Townsend with Marcello Bono and Pierre Imbert. We were having a major
wind storm which knocked out the power at the venue, so the concert took
place by candle light. The Saturday night dance was phenomenal, with a
breathtaking band. Fifteen or so hurdy-gurdies, with accordions, fiddles,
guitars, cittern, flutes, whistles, bagpipes, bombarde, clarinet, and various
percussion. A grand time was had by all.
Jam sessions happened everywhere, every hour, every day.
There were classes or workshops on: baroque music, alternative music, French
dance repertoire, singing with the HG, basic skills, medieval and Renaissanc
music, accompnaying the HG, making a dog, changing strings, and Pierre's
amazing early morning rhythm/dog sessions.
I think this was the largest ever meeting of hurdy gurdy players in North
America. It was a real honor to be a part of producing this event.
John Peekstok
http://members.aol.com/telynor
---------------------------------------------------------
Date: Mon, 27 Sep 1999 10:33:25 -0400
From: Judith Lindenau <judith _at_ taar.com>
Subject: Hurdygurdy: RE: Hurdygurdy: Over the Water
thanks, John. How lovely.
I will be in Seattle later this week...I missed it by only a week. Sigh.
Judith
---------------------------------------------------------
Date: Mon, 27 Sep 1999 18:18:13 -0400
From: Roy Trotter <rtlhf _at_ yahoo.com>
Subject: Hurdygurdy: Coffee Mills and Toy Boats...
I want to Thank All and several for the help, support,
and patience and the wonderful time at the OTW
Festival. This being my first gurdy, it took a good
deal more time than I thought to get it playing.
<p>I really don't want to mention names because I
really mean Thanks to <b>All</b>. The excellent jams
in the dining hall at the wee hours and the
occaisional kind word were great motivators.
<p>So many people remarked how great it was to add the
making element, that I'll probably bring some set-up
work next year to help establish the "movement", but I
really want to spend more time doing people stuff in
the future.
<p>Oh yes, I would like to thank one by name: Dick
Sorta, who apparently didn't show up, for the loan of
"Athena" for Basic Skills class.
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com
---------------------------------------------------------
Date: Tue, 28 Sep 1999 04:52:49 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: HG: Upcoming concert in Seattle
Judith said:
>
>I will be in Seattle later this week...I missed it by only a week. Sigh.
We missed you at the festival - it would have been so nice to see you again.
Will you be there on Friday October 1st? If so, we hope you'll be at the
concert by Marcello Bono, with Fred Inman on bass viola da gamba and Lisa
Lewis on harpsichord. It's at 8:00 PM at the Queen Anne Christian Church,
1316 - 3rd Ave W, Seattle. This will be a really fabulous concert.
Alden
------------------------------------------------
If you can see it and touch it, it's physical.
If you can see it but not touch it, it's virtual.
If you can't see or touch it, it's gone.
The early bird may get the worm, but the second mouse gets the cheese
Cali and Alden Hackmann - Olympic Musical Instruments
hurdy _at_ silverlink.net
http://www.hurdygurdy.com/hg/hghome.html
---------------------------------------------------------
Date: Tue, 28 Sep 1999 04:52:50 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: HG: OTW festival
John said:
>I think this was the largest ever meeting of hurdy gurdy players in North
>America. It was a real honor to be a part of producing this event.
That says it all, John. I feel very proud and very happy to have been a
part of it. I thank everybody who worked on it and everybody who was there
for creating one of the best experiences of my life.
Alden
------------------------------------------------
If you can see it and touch it, it's physical.
If you can see it but not touch it, it's virtual.
If you can't see or touch it, it's gone.
The early bird may get the worm, but the second mouse gets the cheese
Cali and Alden Hackmann - Olympic Musical Instruments
hurdy _at_ silverlink.net
http://www.hurdygurdy.com/hg/hghome.html
---------------------------------------------------------
Date: Tue, 28 Sep 1999 05:40:52 -0400
From: Judith Lindenau <judith _at_ taar.com>
Subject: HG: RE: Upcoming concert in Seattle
Oh, I will be there then! I will certainly be at that concert. thanks for
telling me.
I will be there Wednesday-Saturday, leaving Sunday AM. Conference is
Thursday and Friday, so this will be perfect!
judith
---------------------------------------------------------
Date: Tue, 28 Sep 1999 13:19:02 -0400
From: Alden Hackmann <darkstar _at_ u.washington.edu>
Subject: HG: Re: Hurdygurdy: Administrative messages
Craig said:
>
> I've received a couple of what seem to be administrative messages- ot
> the "subscribe" and "unsubscribe" type. I'm a little puzzled, since I
> haven't encountered this on other listservs to which I belong, namely
> a listwide broadcast of administrative traffic.
Alden the Listmaster says:
This happens occasionally - I've seen it sporadically on every mailing
list I've been on. "Unsubscribe"s are more prevalent, because people
don't always remember how to unsubscribe from the list - there's no
standardized nomenclature. "Subscribe"s are usually typos, like the
recent one.
---------------------------------------------------------
Date: Tue, 28 Sep 1999 14:25:28 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: HG: Re: HG: RE: Upcoming concert in Seattle
Hi Judith,
Way Cool! We look forward to seeing you. Give us a call if you have any
questions.
:-)----Cali
At 05:40 AM 9/28/99 -0400, you wrote:
>Oh, I will be there then! I will certainly be at that concert. thanks for
>telling me.
>
>I will be there Wednesday-Saturday, leaving Sunday AM. Conference is
>Thursday and Friday, so this will be perfect!
>
>judith
>
---------------------------------------------------------
Date: Tue, 28 Sep 1999 14:32:28 -0400
From: Debbie Dawson <goodthym _at_ mcn.org>
Subject: HG: Re: Hurdygurdy: Re: Hurdygurdy:
>What is your interest in the hurdy gurdy and your name, area etc. Do you
>play?
My name is Debra Dawson, and I've been playing for almost 20 years. I
learned from Arrigo D'Albert, and currently play in a group called TOUR DE
FRANCE. Last year we played on Prairie Home Companion. I also produce the
FRENCH AND BRETON MUSIC AND DANCE FESTIVAL at the Mendocino Woodlands in
the summer. I will be posting info as soon as we have dates and who the
instructors will be. Keep in touch.
---------------------------------------------------------
Date: Tue, 28 Sep 1999 17:17:52 -0400
From: J J Andrus <jjand _at_ juno.com>
Subject: HG: Re: Upcoming concert in Seattle
Please introduce yourself to us. It's not often we get a chance to meet
email friends from far away. :-)
You can order tickets in advance from the Early Music Guild 206-325-7066
if you want.
We are really excited about this concert!
Joanne
On Tue, 28 Sep 1999 05:40:52 -0400 judith _at_ taar.com ("Judith Lindenau")
writes:
>Oh, I will be there then! I will certainly be at that concert. thanks
>for
>telling me.
>
>I will be there Wednesday-Saturday, leaving Sunday AM. Conference is
>Thursday and Friday, so this will be perfect!
>
>judith
>
___________________________________________________________________
Get the Internet just the way you want it.
Free software, free e-mail, and free Internet access for a month!
Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
---------------------------------------------------------
Date: Tue, 28 Sep 1999 17:24:53 -0400
From: "Meador, John" <john.meador _at_ unistudios.com>
Subject: HG: Strings for G Chanterelle
To all:
Does any of you have any experiences (good or bad) with using classical
guitar wound gut strings on the Vielle. I will be changing one of my .096
gut chanter strings to either a Viola G or a Guitar A .
Anyone's experience or comments regarding their experiences would be
appreciated.
Thanks...
John C. Meador
Universal Studios Information Technology Group
Universal Music and Video Division (UMVD)
Category Management Data Warehouse
john.meador _at_ unistudios.com 818-777-5325
---------------------------------------------------------
Date: Tue, 28 Sep 1999 17:26:07 -0400
From: Judith Lindenau <judith _at_ taar.com>
Subject: HG: RE: Re: Upcoming concert in Seattle
Thanks! I feel like Seattle ought to be home: my Irish flute is a Casey
Burns, my first dulcimer a Dusty Strings, and I play a Hackman Hurdy Gurdy!
And I met Alden and Cali in Toronto a couple of years ago.
judith
---------------------------------------------------------
Date: Wed, 29 Sep 1999 03:41:21 -0400
From: Simon Wascher <simon.wascher _at_ teleweb.at>
Subject: HG: Re: HG: Strings for G Chanterelle
Hello,
If you want a g (g of Viola) string: Guitar strings for hurdy- gurdy melody
did not satify me. My best experiences are Viola g silver with either gut
or metal core.
I use a Thomastik Spirocore Viola g medium siver. For g1 I use the Thomastik
Spirocore Viola a (1) medium .
Simon Wascher
---------------------------------------------------------
Date: Wed, 29 Sep 1999 12:14:11 -0400
From: Judy V Olmstead <shanti _at_ thurston.com>
Subject: HG: Re: HG: Re: HG: Strings for G Chanterelle
Thanks for sharing this, it's something I want to know about too. Any
other experiences to share from anyone else? Judy Olmstead
---------------------------------------------------------
Date: Wed, 29 Sep 1999 16:06:51 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: HG: Strings for G Chanterelle
Simon said to John:
>If you want a g (g of Viola) string: Guitar strings for hurdy- gurdy
melody did not satify me. My best experiences are Viola g silver with
either gut
>or metal core.
>I use a Thomastik Spirocore Viola g medium siver. For g1 I use the
Thomastik Spirocore Viola a (1) medium .
Pierre Imbert's favorite for this string is Corelli Crystal Viola G, medium
tension. These are made by Savarez. They also make a high tension G
string, which we haven't tried but Pierre says is too heavy for most
applications.
We've also used Gamut Viola G strings from Dan Larson with good results.
These are silver wound on a gut core. We started with the medium tension
and worked our way up to the heaviest, which we liked the best. Your
Mileage May Vary. Dan makes quite a variety of tensions, so if you like
his strings but want just a little more or less tension, you can do that
Neither of these brands are easily available in the US: the Corelli's we
had to special order from our string supplier, and the Gamuts we ordered
direct from Dan Larson. We don't stock the Gamuts, and we're out of the
Corelli's ;-(
Alden
------------------------------------------------
If you can see it and touch it, it's physical.
If you can see it but not touch it, it's virtual.
If you can't see or touch it, it's gone.
The early bird may get the worm, but the second mouse gets the cheese
Cali and Alden Hackmann - Olympic Musical Instruments
hurdy _at_ silverlink.net
http://www.hurdygurdy.com/hg/hghome.html
---------------------------------------------------------
Date: Wed, 29 Sep 1999 16:28:50 -0400
From: Catherine Keenan <cath _at_ pathcom.com>
Subject: HG: corelli crystals
yes Pierre and I got the corelli crystal viola strings (medium gauge)
suggestion from Nigel Eaton. (Isabel Pignol of Dedale has been using these
same strings for years -- probably Valentin is the one who figured it out?)
These have mauve or pale purple and black silk barber pole silk at the
bridge end. A far inferior substitute is the Pirastro Tonica string (red
silk and black stripes) which break very quickly and cost much more.
There is a problem inherent in using strings at this pitch -- the key box is
designed for smaller strings, whose size when vibrating is smaller than this
pitch's. So when they vibrate, they hit the tangents and rattle. (Nobody
mentions it... its very embarrassing!) If this is happening to you, it's not
the cotton.
I understand why John is asking about guitar strings -- they are much
cheaper! and I would be interested to know how they work out
cath
---------------------------------------------------------
Date: Wed, 29 Sep 1999 16:47:18 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: HG: Re: HG: Strings for G Chanterelle
John Meador asked:
>Does any of you have any experiences (good or bad) with using classical
>guitar wound gut strings on the Vielle. I will be changing one of my .096
>gut chanter strings to either a Viola G or a Guitar A .
>
I know Alden posted on this, but I'm going to put in my .02 worth. First
off, you need to know that "plucked" strings and "bowed" strings are made
in different ways. You can get away with using unwound gut or nylon for
bowed and plucked strings, but you will notice a pretty extreme difference
if you try to use wound strings made for plucking on a bowed instrument.
Don't take my word for it however, try it and see what you think. My
information comes from my own experiments as well as discussions with
several string makers about this very item.
Also, all strings are not created equal. I tried several different
manufacturers and found that either the Savarez Corelli Crystal or Dan
Larson's Gamut strings worked best. The other strings I tried had a little
too much floppiness to give the desired sound on a hurdy-gurdy. It is not
just a matter of tension, but a matter of string elasticity. I found that
a somewhat higher tension and less elastic string gave me the best sound
and the least string/tangent buzz. This last bit is rather important for
HG because the metal wound strings do have a tendency to buzz more against
the tangents as you play. This is usually worse on the lower tangents.
Even with the best strings I found I had to play with my cotton a bit and
make a few tangent adjustments before I was satisfied with the sound (So
what else is new?).
:-)-----Cali
------------------------------------------------
If you can see it and touch it, it's physical.
If you can see it but not touch it, it's virtual.
If you can't see or touch it, it's gone.
The early bird may get the worm, but the second mouse gets the cheese
Cali and Alden Hackmann - Olympic Musical Instruments
hurdy _at_ silverlink.net
http://www.hurdygurdy.com/hg/hghome.html
---------------------------------------------------------
Date: Wed, 29 Sep 1999 17:38:06 -0400
From: Simon Wascher <simon.wascher _at_ teleweb.at>
Subject: HG: Re: HG: Re: HG: Re: HG: Strings for G Chanterelle
Somthing more about Strings.
When I started playing I used the usual gut strings, but soon looked for
alternatives. Gut String reacts on humidity, gut is quite hart to intonate
and looses sound if the lenght of the vibrating part of the string is shorter
then about ten centimeters, that means from about the tenth diatonic key
upwards. Thicker strings as you would need for lower melodystrings do
not give good sound at the given length of 36 to 34,5 cm. Thin gut strings as
you need for high notes like for the d2 of the Berry tuning tend to brake.
Coming from plain gut the first was to try other related strings: blank Nylon
as in Guitarstrings, Harpstrings, .... . The advantage of Harpstrings is
that they are sold by diameter like gut, and are available in many diameters.
My personal opinion is that the relation between weight and flexibility is not
satisfying with all these blank strings, but some of these, especialy
harp strings, are very good for the use as trompette, because the stiffness and
the missing sound qualities (lacking power) are somtimes a positive
characteristic in this case.
A positive characteristic I found with thouse strings that are made for picking is
that the pitch does not change with the changing tempo of the weel
during playing. (My english is not precise enough to finde better words)
Some years ago I bougth a smal, durable instrument made for trekking, that
should also be loud enough for basking. To get a loud powerfull sound I
tried simple metalcore strings and was satified.
The sound was not very sweet but it was loud and god enough for basking.
Next I tried Violin e strings for d2 of my Lutheback instrument, because I
found they do not break so often and sound better on the high notes and
the oktav paralells are easier to intonate. A string that fitts for e2 at
32,5 cm is quite at the right tension for d2 at the usual 34,5 cm. My personal
choice was Pirastro Olive violin e2 Gold or cheaper: the Pirastro
Eudoxa violin e2. A lot of research on modern viola an violin strings in my
neighborhood was done by Matthias Loibner as he tried to extend the range
of his Instrument down to the Viola c. We attended workshops with Valentin
Clastrier and Gilles Chabenat in France and I organized an annual workshop
with Gilles in Austria some years, so there was some exchange about strings
with these extraordinary players and researchers on the hurdy-gurdy and
also with Riccardo Delfino from Germany.
Today, besides the idea of playing traditional style gut strings, it seems to
be something like common sense to use Viola strings for the chanters.
They fit for the vibrating length of the hurdy-gurdy, are made for sound
generation by bowing (not picking, like guitar strings) are made in good
dimensions for the usual pitches (c), g, d1, g1(->a1), d2(->e2)are available
for different sound concepts: nylon core, gut core, steel spiral core,
plain steel core; steel wound or silverwound. I found that I do not like the
sound of the aluminium wound strings I know.
The playability of the modern viola strings is uncompareable to plain gut.
There is a remarkable dynamic range, very good intonation and no loss in
sound up to the highest notes, as down to the c, limited just by the makers
(and adjusters) abililities. And they are simply louder than plain gut,
so you can have a louder instrument or lighter, easier to play strings.
Maybe the only real challange is to put cotton on a flat metal wound string
like the usual viola string is. These strings are naturally more smoothly
so it is hard to fix the cotton. The simple solution is to "glue" the cotton
onto the string by the use of resin solved in alcohol: give some alcohol
(96% ) into a small bottle, together with a little bit your usual resin. Put this
mixture onto the string when it is off the wheel, let it dry some
seconds then put the cotton onto it as you normaly do. The alcohol and resin
mixture should not be too strong, if you rubb it between your fingers
there shold bee some grip but they shold not be glued together.
so thats it in the moment,
more on request
Simon Wascher
(sorry for my english)
---------------------------------------------------------
Date: Thu, 30 Sep 1999 02:41:17 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: HG: Floppy strings
>There is a problem inherent in using strings at this pitch -- the key box is
>designed for smaller strings, whose size when vibrating is smaller than this
>pitch's. So when they vibrate, they hit the tangents and rattle. (Nobody
>mentions it... its very embarrassing!) If this is happening to you, it's not
>the cotton.
One approach to this is to use smaller tangents. The downside of this is
that the action is slower - you have a millimeter or two more to go to get
to the string, which can be critical in fast passages. The upside is of
course that the string no longer hits the tangent when it vibrates.
Another is to use a string with a higher tension. The diameter of the
string is about the same for the viola G and the gut 0.94. However the
tension on the viola string is lower than the gut string - by how much, I
don't know, as I don't have the formulae to calculate the tension on the
viola string unless I know the metalurgical composition of the wrap
material. The tension of the 0.94 string is perhaps 70-72 Newtons. Since
it's under a lower tension, the wound string is more elastic and flops
around more.
The downside of using a higher tension string is that it can also exert
more string pressure on the wheel, and it sounds Really Loud. This can be
alleviated somewhat by shimming and careful cottoning.
Alden
------------------------------------------------
If you can see it and touch it, it's physical.
If you can see it but not touch it, it's virtual.
If you can't see or touch it, it's gone.
The early bird may get the worm, but the second mouse gets the cheese
Cali and Alden Hackmann - Olympic Musical Instruments
hurdy _at_ silverlink.net
http://www.hurdygurdy.com/hg/hghome.html
---------------------------------------------------------
Date: Thu, 30 Sep 1999 03:08:47 -0400
From: Simon Wascher <simon.wascher _at_ teleweb.at>
Subject: HG: Re: HG: corelli crystals
Hi Catherine!!
hav'nt seen you for a long while.
It seem that I receve the mails not in the right order, so maybe my answers
do not allways fit in at the right point of the dicussion, but I hope it
makes sense what I write anyway.
Catherine Keenan schrieb:
> There is a problem inherent in using strings at this pitch -- the key box is
> designed for smaller strings, whose size when vibrating is smaller than this
> pitch's. So when they vibrate, they hit the tangents and rattle. (Nobody
> mentions it... its very embarrassing!) If this is happening to you, it's not
> the cotton.
That is true, but mostly a problem just on the lowest note, if no key is pressed.
Usually the distance between the tangents and the string is adjusted
for minimum distance to have an easy-going keyboard. The distance to the next
row of tangents is bigger, so if you push a key the string gets into
some "middle position" between the two rows of tangents and there should
be no rattling. But you are right this is a design problem, especially on
traditional instruments.
When I started trying lower strings on my hurdy gurdy, I had troubles to
get a clear sound. Later on, I went from g1 to d1 to a to g to c, I got
the idea that there is also a difference in playing technique. The lower string
is stronger, it contains more energy, so the usual touch does not
force it to make a clear knot at the pushed tangent imediatly and the old
knot resists a bit. It needs an slightly more energic input by the players
finger. I do not mean I have to push harder but maybe I would call it
faster, a faster attack.
Finaly there is another design problem with low strings. If one takes
a given instrument and puts a string onto it one gets a certain amount of
noises from different parts of the instrument: The tangents, the keys,
the bridge, the saddle, the key box, the key box cover. The lower a string one
takes the more noise one will get. Again: a lower string has more energy
and a different sort of energy, so it makes more and different parts vibrate
an makes everything vibrate stronger. So if you use a lower string you
will probably hear parts of your instrument that you did not hear before, which
maybe were not designed for being heared.
A related problem occures from using thicker strings on the same pitch.
Again, even if the string is more flexible to encounter rising stiffness at
higher tension, it is harder to get a clear sound because there is more
energy involved.
So I think one has to make some adjustments with the tangents if playing
metal wound, especialy lower strings: the distance between the tangent and
the string has to be bigger (longer?) one simple solution is to change the
thickness of the matrial that stops the tangents from making noise when
they fall back against the key box (make it thinner). Also the tangents
and the keys must be more precise, so they do produce less vibrating sounds.
For notes lower than g I found that all my tries with wooden tangents
made to much noise, I use special metal ones now.
As far as I know the corelli crystals are nylon filament core ? Its hard to
get them here (possible, but it would be necessary to order them), it
seems they are about the same thing as the Dominant strings by
Thomastik wich string company is Vienna based ;-).
Simon Wascher
---------------------------------------------------------
Date: Thu, 30 Sep 1999 13:21:51 -0400
From: "peter.j.hughes _at_ bt.com" <peter.j.hughes _at_ bt.com>
Subject: HG: RE: Re: HG: corelli crystals
Hello Everybody,
Before I go any further let me introduce my self. My name is Peter Hughes
and I live in a quiet rural part of Suffolk in England. I started playing
the hurdy gurdy about 5 years ago, mainly as a result of being dragged along
by a friend to a Blowzabella concert a couple of years before that (was it
so long ago?). I seem to recall a great night being totally gobsmacked by
the sound, dancing like mad all evening and, I'm afraid, drinking rather a
lot. Since at the time I was playing bass guitar in an electric folk dance
band, and getting a bit bored with it, I decided this funny looking
instrument with a handle at one end was what I REALLY wanted to play.
So, after asking Nigel about it, I got myself on Chris Eatons waiting list
and 2 years later (I chose a bad time) I received a rather beautiful (and
very loud) lute back hurdy gurdy. I then proceeded to take it to and play
at every workshop, festival or folk music session I could find. Looking back
on it I probably caused great annoyance to all concerned since my playing
was even worse than it is now, but thats the folly of youth! (I was about
35).
Recently i've become much more interested in early and baroque music,
although I still love the French Folk repertoire. I've gained a couple more
hurdy-gurdies; a rather pretty sounding Henri 111 type one by Neil Brooke
which I bought second hand, and a rather complicated new hurdy-gurdy by
Chris Eaton. This latter is a wonderful machine - double keyboard as per
Nigel Eatons and F & F# bgelow the open chanter note.
I'm purely an amateur player, playing mostly for my own pleasure (by day I'm
an electronics and computing enginer) - and though I do perform or play for
dancing from time to time, I'd never claim to be a particularly good
mucisian. I just love the sound and find it such an interesting instrument
to play.
Just to concur with a couple of points made earlier today:
From Catherine Keenan:
>
> > There is a problem inherent in using strings at this pitch
> -- the key box is
> > designed for smaller strings, whose size when vibrating is
> smaller than this
> > pitch's. So when they vibrate, they hit the tangents and
> rattle. (Nobody
> > mentions it... its very embarrassing!) If this is happening
> to you, it's not
> > the cotton.
I found I had this problem on my new Chris Eaton hurdy gurdy. The origonal
strings as fitted by Chris were light weight Corelli Crystal G viola
strings. It was really frustrating at the time, but moving up to medium
weight made largely removed the problem. They also do a heavy weight string
which I may try sometime.
and from Simon Wascher,
> Finaly there is another design problem with low strings.
> If one takes a given instrument and puts a string onto it one
> gets a certain amount of
> noises from different parts of the instrument: The tangents,
> the keys, the bridge, the saddle, the key box, the key box
> cover. The lower a string one
> takes the more noise one will get. Again: a lower string has
> more energy and a different sort of energy, so it makes more
> and different parts vibrate
> an makes everything vibrate stronger. So if you use a lower
> string you will probably hear parts of your instrument that
> you did not hear before, which
> maybe were not designed for being heared.
I get this occasionally. I haven't yet tracked down exactly what it is yet,
but it only ever occurs on notes E and F natural. It was worse with the
lighter strings. I think part of the problem is the string between the nut
and the tangent vibrating.
Another string I did try was the low G string made by Northern Renassaince
Instruments (website http://www.nrinstruments.demon.co.uk/). It's metal
wound on gut. I didn't really like it, mainly because it didn't keep in tune
when I used my low F and F# keys. (As I mentioned earlier These are extra
sprung keys on my hurdy gurdy so the 'open' chanter string is still G. BTW,
having these notes is really liberating!) It makes a good low G
trompette string though.
Finally can I say how nice it is to have this mailing list. A big thankyou
to Alden for setting it up.
Hear from you all soon I hope.
Peter Hughes.
---------------------------------------------------------
Date: Thu, 30 Sep 1999 14:46:30 -0400
From: C. Wright <cwright _at_ smartt.com>
Subject: HG: thanks
Greetings all,
I just want to say a big word of thanks to all those hard-working
individuals (you know who you are), who made last week's Hurdy Gurdy
festival outside of Port Townsend, USA such a great place to be.
And thanks to those who were kind enough to lend a vielle-less curious
beginner their instruments, both in class and out.
As an enthralled novice, the environment, people, and workshops were
thrilling to be a part of.
(Okay, I admit, I'm completed converted.)
Kudos said ....
To all those I didn't get a chance to say good-bye to, or get your address,
I'd love to hear from you.
Now that I'm on 'the hunt' for my very own hurdy gurdy, if anyone out there
knows of a sweet sounding lute back that's looking for a welcoming home
(either temporarily or permanently), I come with good references ;-)
Seriously.
Cheers,
Cynthia Wright
Vancouver, BC
Canada
---------------------------------------------------------
Date: Thu, 30 Sep 1999 17:57:03 -0400
From: Pello Garcia <pellog _at_ jazzfree.com>
Subject: HG: Pello's list
Hi !!!
I'm here again (I had some problems with my computer...)
There was some troubles with my last messages and their enclosed files (my
album list in Excel format), so I enclose it here again.
If the problem persists, and you are interested in to change CD copies (or
cassettes, books, videos etc.), please contact directly with me.. this is my
email address : pellog _at_ jazzfree.com
I live in Spain, and change with some people around the world.. Remember,
this is just a collector fever, not a bussiness !! ;-)
My interests are always folk and early music, and of course, featuring HG
(or not, as you will see !) ;-)
Have a great day !
pellog _at_ jazzfree.com * SLAINTE * Barcelona
---------------------------------------------------------
Date: Thu, 30 Sep 1999 23:13:38 -0400
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: HG: Re: HG: Pello's list
Dear Pello,
>There was some troubles with my last messages and their enclosed files (my
>album list in Excel format), so I enclose it here again.
Apparently the list format doesn't allow attachments or something. Please
send me a copy and I'll figure out how to post it to the list as text.
Alden
---------------------------------------------------------
Date: Thu, 30 Sep 1999 23:37:38 -0400
From: "JPeekstok _at_ aol.com" <JPeekstok _at_ aol.com>
Subject: HG: Re: Pello's list
In a message dated 9/30/99 8:25:46 PM, hurdy _at_ silverlink.net writes:
>Apparently the list format doesn't allow attachments or something. Please
>send me a copy and I'll figure out how to post it to the list as text.
Uh, I really hate to have to be a wet blanket, but shouldn't we address the
issue of piracy of copyrighted material? In the United States making
unauthorized copies of CDs and books is illegal. If you like the music,
wouldn't it be better to buy from the musician, rather than trade for copies?
It doesn't really matter if this trading is a business or a collector's
hobby, either way you are getting access to a musician's work while the
musician is not getting paid for it. Who likes to work for free?
And besides the monetary issues, there is concern over whether or not the
musician is allowed to have control over his or her own presentation --
artwork, liner notes, production quality, methods of distribution, etc. Do
you really feel you have the right to take control of these things without
the permission of the artist?
John Peekstok
http://members.aol.com/telynor
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