AETHERPHON, global theremin family

This is my first post to the group (yes, I'm on the woo-woo list)!  I
have appreciated the information from this community.  It is encouraging
to hear that people are getting out and performing on these challenging
instruments.

And bravo to David V. and all of the performers on Spellbound Radio.  I
would not have believed that a 2-hour weekly program of theremin music
would be possible, but the talent of the performers and the diversity of
music make it an impressive program.  It keeps me practicing.

I digress.  My main reason to post was something I stumbled on today
from a Classic TV Blog.  In case you haven't seen this on YouTube, check
out this 6-minute clip from "I've Got A Secret" 1966)
<http://classicshowbiz.blogspot.com/2008/02/whats-my-line-with-guest-the\
remin-1966.html>  .  It's a hoot.

My question - does anyone know who manufactured the theremin in the
video?  I grant that I am new to the theremin world, but I haven't seen
one quite like this before.  Not sure what he meant when he said "you
can't buy it"  Any ideas?





[Non-text portions of this message have been removed]

Hi all ...

This too is my 1st post/reply to the group and I am new to the
Theremin. I dont own one yet and never "played" one but I am totally
fascinated by the instrument! 

Thanks to OP for sharing this link.I have never seen that footage before. 

I noticed that during this gentleman's performance there were some
points of very pronounced vibrato yet I really could not discern
much,if any, movement of his hand to cause the effect.

OK ..newbie question time....Are some Theremins more sensitive than
others? I have seen other footage of Theremin performances and noticed
more distinct motion of the hand for vibrato effect. Is it more a
players technique to control vibrato or do different Theremins respond 
differently to ones technique..or is a combination of both?

Sorry for the elementary line of questioning but I figured this was
the place to find out.

Thanks ... Pete  Columbus Ohio


--- In aetherphon@yahoogroups.com, "ldahlke" <ldahlke@...> wrote:

>
> This is my first post to the group (yes, I'm on the woo-woo list)!  I
> have appreciated the information from this community.  It is encouraging
> to hear that people are getting out and performing on these challenging
> instruments.
> 
> And bravo .....

Great find thank you!
I haven't seen this one before either, but it's exciting to learn of more
theremin appearances on television during the late 50s and early 60s.  We
used to watch this show, quite a flash back.

Will definitely keep it in mind and see if any more information of this
player is still around, Paul Lippman from New York City and his theremin.
He appeared or at least recorded with Perry Como at some point and also with
Lew Davies & his Orchestra, on "Strange Interlude" and another
record, probably as a response to the success of the Les Baxter and Samuel
Hoffman's recordings.

very! much appreciated,
John


-- 
----------------------------------------------------
John Hoge, NYC
"Absolutely dedicated to the propagation
and continuation of the Theremin."
www.hoge-theremin.com
and also check out
www.ThereminWorld.com
On 2/9/08, ldahlke <ldahlke@...> wrote:
>
>   This is my first post to the group (yes, I'm on the woo-woo list)! I
> have appreciated the information from this community. It is encouraging
> to hear that people are getting out and performing on these challenging
> instruments.
>
> And bravo to David V. and all of the performers on Spellbound Radio. I
> would not have believed that a 2-hour weekly program of theremin music
> would be possible, but the talent of the performers and the diversity of
> music make it an impressive program. It keeps me practicing.
>
> I digress. My main reason to post was something I stumbled on today
> from a Classic TV Blog. In case you haven't seen this on YouTube, check
> out this 6-minute clip from "I've Got A Secret" 1966)
> <http://classicshowbiz.blogspot.com/2008/02/whats-my-line-with-guest-the\
> remin-1966.html<http://classicshowbiz.blogspot.com/2008/02/whats-my-line-with-guest-theremin-1966.html>>
> . It's a hoot.
>
> My question - does anyone know who manufactured the theremin in the
> video? I grant that I am new to the theremin world, but I haven't seen
> one quite like this before. Not sure what he meant when he said "you
> can't buy it" Any ideas?
>
> [Non-text portions of this message have been removed]
>
> 
>


[Non-text portions of this message have been removed]

{sorry left this out}
Oh the vibrato is cause by the back and forth motion (a combination of twist
and forearm abduction it looks like) pitch is mostly controlled by the full
arm moving front and back, very much a dropped elbow version of Sam
Hoffman's technique.

All theremins are a little different in sensitivity and spacing of the
playing field but there's even more variation in the technique of all the
players, every one eventually puts their own stamp on how they play the
instrument.

So yeah, guess it's partly a combination of both instrument and technique,
though a different player could get the same musical result with a different
style of vibrato.  You tend to adapt to your own instrument for the subtle
bits and may have to adjust some when you play a different one.

Thanks again Pete.

hth - jh

On 2/9/08, John Hoge <johnbhoge@...> wrote:
>
> Great find thank you!
> I haven't seen this one before either, but it's exciting to learn of more
> theremin appearances on television during the late 50s and early 60s.  We
> used to watch this show, quite a flash back.
>
> Will definitely keep it in mind and see if any more information of this
> player is still around, Paul Lippman from New York City and his theremin.
> He appeared or at least recorded with Perry Como at some point and also with
> Lew Davies & his Orchestra, on "Strange Interlude" and another
> record, probably as a response to the success of the Les Baxter and Samuel
> Hoffman's recordings.
>
> very! much appreciated,
> John
>
>
> --
> ----------------------------------------------------
> John Hoge, NYC
> "Absolutely dedicated to the propagation
> and continuation of the Theremin."
> www.hoge-theremin.com
> and also check out
> www.ThereminWorld.com <http://www.thereminworld.com/>
>  On 2/9/08, ldahlke <ldahlke@...> wrote:
> >
> >   This is my first post to the group (yes, I'm on the woo-woo list)! I
> > have appreciated the information from this community. It is encouraging
> > to hear that people are getting out and performing on these challenging
> > instruments.
> >
> > And bravo to David V. and all of the performers on Spellbound Radio. I
> > would not have believed that a 2-hour weekly program of theremin music
> > would be possible, but the talent of the performers and the diversity of
> > music make it an impressive program. It keeps me practicing.
> >
> > I digress. My main reason to post was something I stumbled on today
> > from a Classic TV Blog. In case you haven't seen this on YouTube, check
> > out this 6-minute clip from "I've Got A Secret" 1966)
> > <
> > http://classicshowbiz.blogspot.com/2008/02/whats-my-line-with-guest-the\
> > remin-1966.html<http://classicshowbiz.blogspot.com/2008/02/whats-my-line-with-guest-theremin-1966.html>>
> > . It's a hoot.
> >
> > My question - does anyone know who manufactured the theremin in the
> > video? I grant that I am new to the theremin world, but I haven't seen
> > one quite like this before. Not sure what he meant when he said "you
> > can't buy it" Any ideas?
> >
> > [Non-text portions of this message have been removed]
> >
> > 
> >
>
>


[Non-text portions of this message have been removed]

He kind of implied that he built the theremin himself, which I think was
pretty common at the time...excellent clip.
-- 
http://www.inactivists.com
http://www.myspace.com/theinactivists
victoria@...
http://www.myspace.com/victoriatheremin

yes this clip is an excellent find!  Thanks for sharing!  Paul Lippman is
interesting - whilst not a great (or even good) player, he has something of
the Samuel J Hoffman in his stage presence and playing, and the music (or
sort of oscillating style) he plays with the orchestra (whether they're real
or on tape) has a really endearing, listenable quality.  I'd definitely like
to hear/see more of Paul if anyone has any recordings.

Regarding different players effect on the theremin - as Clara says 'it's a
crazy instrument', and the analogue electronic instrument, or so Bob Moog
believes, is alive to the different sensitivities of each player.  Thus, I
believe, when you are nervous, like playing with a child or a dog, your 'bad
vibes' may rub off on the theremin (or maybe I'm just insane).   But it is
directly affected by pitch,and very slightly by tone, by the 'density' of
the player - thus a fist is a more dense tone and higher pitch than a
finger, big male hands sound denser than little ladies.  You just adjust to
your own density, and bigger people may need to play back an inch or two to
petite players.  I still believe it's an instrument pre-disposed for petite
ladies to play more than bigger gents.

-- 
Susi
(aka Ms Hypnotique)
Tel: 07981 222799

http://www.hypnotique.net
http://www.lunette.co.uk
http://www.babyslave.net

See our blog: http://www.babyslave.wordpress.com


[Non-text portions of this message have been removed]

My Thereministas!

I don't often contribute to the discussion
here....usually because I just don't have much to add
to the conversation. But I thought I'd share my recent
theremin experiences with you guys.

I've been in the studio for nearly a year, working on
my newest album with my longtime collaborator Adam
Pike: it's called "Pareidolia."  The project was
conceived as an all electronic dance album that
features analog instruments such as my two Moogs, a
Prophet Pro-One, and my Roland Juno syths....and
whatever other old boxes we could get our hands on.
So, of course, I had to play my (Big Briar) theremin
on several of the pieces.

While I've occaisionally recorded with my Etherwave,
most of my experience has been the live-with-DJ club
thing. The difference is startling. When you are used
to clubbing it, you improv and let your ears lead you.
No thinking allowed. In the studio, you rehearse a
part over and over and then record take after take
until you get it like you want it.

Some of the songs came naturally. The parts are
logical and supported by the arrangement and I could
just "feel" it. Others were just noises and
therepercussion. 

But last week, we were recording the theremin solo on 
a track with the line "Only what you do matters."
Appropriate, no? The part is straightforward and
follows the changes, moving up a minor chord and back
down a diminshed. I played a long legato phrase with a
repeat. Yet it took over 30 takes. During the course
of recording, the tuning on my box drifted, first
contracting by about four inches, then opening up by
over a foot. Sometimes this would happen during the
recording, so that the tuning on the repeat was
different.

After the first few tries, I began anticipating the
change in tuning across the repeat. But that only made
things worse. For over an hour, the first part was
perfect but the repeat always sounded wrong.

The more frustrated I got, the less cooperative the
instrument became. We took a break for about 20
minutes, then came back to it. Then we immediately got
two good takes which we will use doubled. 

Part of my problem may have been that I recorded it
with minimal delay. Usually, I let the delay blur the
edges of my playing, so this was like working without
a net. But that doesn't explain the crazy atmospheric
changes in my induction. 

Still....on playback the part sounded agressive and
pretty rockin! All the hard work and frustration payed
off with some mean, hard oscillations!

Just off the top of my head, I can tell you that I
play theremin on five of the tracks on the album.
Maybe more. We are nearing the final mix on this
project, so it's all starting to become a blur to
me.....

I hope we can release this thing soon. I want you all
to year it!

Peace

Carvin


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Quoting carvin knowles <carvinknowles@...>:

> My Thereministas!
>
> I don't often contribute to the discussion
> here....usually because I just don't have much to add
> to the conversation.
>
Hi Carvin!

I understand.  Glad you posted.  Interesting to hear what you and  
others are doing.
>
> When you are used
> to clubbing it, you improv and let your ears lead you.
> No thinking allowed. In the studio, you rehearse a
> part over and over and then record take after take
> until you get it like you want it.
>
Indeed!  I consider live performance and recorded performance are  
related they really are different artforms.  In a live performance, a  
less-than-perfect note or phrase just kind of "flys by" and no-one  
really notices.  However, people can listen to a recording over and  
over and any "flaw" will stick out.

I think this is the reason that there are relatively few "live albums"  
these days.
>
> Some of the songs came naturally. The parts are
> logical and supported by the arrangement and I could
> just "feel" it. Others were just noises and
> therepercussion.
>
How do you do "therepercussion"?  Are you processing the sound?  The  
best I've been able to do without processing is a fast attack but  
never a percussive sound (such as a mallet instrument).
>
> But last week, we were recording the theremin solo on
> a track with the line "Only what you do matters."
> Appropriate, no? The part is straightforward and
> follows the changes, moving up a minor chord and back
> down a diminshed. I played a long legato phrase with a
> repeat. Yet it took over 30 takes. During the course
> of recording, the tuning on my box drifted, first
> contracting by about four inches, then opening up by
> over a foot. Sometimes this would happen during the
> recording, so that the tuning on the repeat was
> different.
>
That kind of drift really shouldn't happen if the theremin is warmed  
up.  Was there someone or something interfering with your control zone?

And, yes... amazing how some melodies lend themselves to the theremin  
and others take an outrageous amount of time to learn and to get a  
decent take.
>
> The more frustrated I got, the less cooperative the
> instrument became. We took a break for about 20
> minutes, then came back to it. Then we immediately got
> two good takes which we will use doubled.
>
It is easy to get "freaked out" when trying to get a good take.

One thing that I often do is simply to record all of my rehearsal  
sessions.  Besides being able to review the recordings, to have it  
running is an antidote to "mike fright".  After a while, one doesn't  
even think about the recording.
>
> Part of my problem may have been that I recorded it
> with minimal delay. Usually, I let the delay blur the
> edges of my playing, so this was like working without
> a net. But that doesn't explain the crazy atmospheric
> changes in my induction.
>
I monitor my theremin thru a seperate speaker that is right behind my  
head with a dry signal.  In a sense, I want to hear the theremin at  
its worst when I play.  The idea is that the audience recieves an  
optimum sound and that I am able to correct little things that I can  
hear but the audience cannot.
>
> Still....on playback the part sounded agressive and
> pretty rockin! All the hard work and frustration payed
> off with some mean, hard oscillations!
>
I think that is what drives us to record.  When the music comes  
together it is very fulfilling!
>
> Just off the top of my head, I can tell you that I
> play theremin on five of the tracks on the album.
> Maybe more. We are nearing the final mix on this
> project, so it's all starting to become a blur to
> me.....
>
> I hope we can release this thing soon. I want you all
> to hear it!
>
Keep us posted.

A great day to one and all!

-- Kevin

Carvin,

I'm looking forward to hearing your work.  Studio work is a lot harder 
than it looks, isn't it? :-)  30 takes....sounds like when I do vocals.

-----
DAVID VESEL -- synthetic music for humans
-----
Spellbound, a brief program of music for theremin
Sunday 10PM-12AM http://spellbound.purplenote.com

carvin knowles wrote:

> My Thereministas!
> 
> I don't often contribute to the discussion
> here....usually because I just don't have much to add
> to the conversation. But I thought I'd share my recent
> theremin experiences with you guys.
> 
> I've been in the studio for nearly a year, working on
> my newest album with my longtime collaborator Adam
> Pike: it's called "Pareidolia."  The project was
> conceived as an all electronic dance album that
> features analog instruments such as my two Moogs, a
> Prophet Pro-One, and my Roland Juno syths....and
> whatever other old boxes we could get our hands on.
> So, of course, I had to play my (Big Briar) theremin
> on several of the pieces.
> 
> While I've occaisionally recorded with my Etherwave,
> most of my experience has been the live-with-DJ club
> thing. The difference is startling. When you are used
> to clubbing it, you improv and let your ears lead you.
> No thinking allowed. In the studio, you rehearse a
> part over and over and then record take after take
> until you get it like you want it.
> 
> Some of the songs came naturally. The parts are
> logical and supported by the arrangement and I could
> just "feel" it. Others were just noises and
> therepercussion. 
> 
> But last week, we were recording the theremin solo on 
> a track with the line "Only what you do matters."
> Appropriate, no? The part is straightforward and
> follows the changes, moving up a minor chord and back
> down a diminshed. I played a long legato phrase with a
> repeat. Yet it took over 30 takes. During the course
> of recording, the tuning on my box drifted, first
> contracting by about four inches, then opening up by
> over a foot. Sometimes this would happen during the
> recording, so that the tuning on the repeat was
> different.
> 
> After the first few tries, I began anticipating the
> change in tuning across the repeat. But that only made
> things worse. For over an hour, the first part was
> perfect but the repeat always sounded wrong.
> 
> The more frustrated I got, the less cooperative the
> instrument became. We took a break for about 20
> minutes, then came back to it. Then we immediately got
> two good takes which we will use doubled. 
> 
> Part of my problem may have been that I recorded it
> with minimal delay. Usually, I let the delay blur the
> edges of my playing, so this was like working without
> a net. But that doesn't explain the crazy atmospheric
> changes in my induction. 
> 
> Still....on playback the part sounded agressive and
> pretty rockin! All the hard work and frustration payed
> off with some mean, hard oscillations!
> 
> Just off the top of my head, I can tell you that I
> play theremin on five of the tracks on the album.
> Maybe more. We are nearing the final mix on this
> project, so it's all starting to become a blur to
> me.....
> 
> I hope we can release this thing soon. I want you all
> to year it!
> 
> Peace
> 
> Carvin
> 
> 
>       ____________________________________________________________________________________
> Be a better friend, newshound, and 
> know-it-all with Yahoo! Mobile.  Try it now.  http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ 
> 
> 
> 
> AETHERPHON, the global thereminist community
> 
> To contact the moderator, e-mail porphyrous@...
> 
> 
>  
> Yahoo! Groups Links
> 
> 
> 
>

Yep. It has always been hard work, but mostly good
work. I've been a studio musician for 20 years now and
I still prefer live shows.

It's funny, when Kevin mentioned "Mike Fright" in his
response, my first reaction was "That's ridiculous, I
don't get mike fright anymore...."

Then I realized he was right. The lyric just before
the solo, "only what you do matters" had spooked me. I
began to focus on how my movements matter and
completely stressed out. Of course it matters: it's a
theremin! But my normal, fluid style relies on never
thinking about what I'm doing.

Yeah, 30 takes is a lot. I haven't been that anal
about a solo since I was (primarily) a guitar player,
and that's been over 15 years now. On many of my
recordings, I pride myself on being a
"One-Take-Wonder" so this was one grinding session.
The recordings since then have been much more fluid
and more naturalistic in overall musicianship. AND the
whole experience helps me appreciate those of you who
are disciplined thereministas.






--- David V <porphyrous@...> wrote:

> Carvin,
> 
> I'm looking forward to hearing your work.  Studio
> work is a lot harder 
> than it looks, isn't it? :-)  30 takes....sounds
> like when I do vocals.
> 
> -----
> DAVID VESEL -- synthetic music for humans
> -----
> Spellbound, a brief program of music for theremin
> Sunday 10PM-12AM http://spellbound.purplenote.com
> 
> carvin knowles wrote:
> > My Thereministas!
> > 
> > I don't often contribute to the discussion
> > here....usually because I just don't have much to
> add
> > to the conversation. But I thought I'd share my
> recent
> > theremin experiences with you guys.
> > 
> > I've been in the studio for nearly a year, working
> on
> > my newest album with my longtime collaborator Adam
> > Pike: it's called "Pareidolia."  The project was
> > conceived as an all electronic dance album that
> > features analog instruments such as my two Moogs,
> a
> > Prophet Pro-One, and my Roland Juno syths....and
> > whatever other old boxes we could get our hands
> on.
> > So, of course, I had to play my (Big Briar)
> theremin
> > on several of the pieces.
> > 
> > While I've occaisionally recorded with my
> Etherwave,
> > most of my experience has been the live-with-DJ
> club
> > thing. The difference is startling. When you are
> used
> > to clubbing it, you improv and let your ears lead
> you.
> > No thinking allowed. In the studio, you rehearse a
> > part over and over and then record take after take
> > until you get it like you want it.
> > 
> > Some of the songs came naturally. The parts are
> > logical and supported by the arrangement and I
> could
> > just "feel" it. Others were just noises and
> > therepercussion. 
> > 
> > But last week, we were recording the theremin solo
> on 
> > a track with the line "Only what you do matters."
> > Appropriate, no? The part is straightforward and
> > follows the changes, moving up a minor chord and
> back
> > down a diminshed. I played a long legato phrase
> with a
> > repeat. Yet it took over 30 takes. During the
> course
> > of recording, the tuning on my box drifted, first
> > contracting by about four inches, then opening up
> by
> > over a foot. Sometimes this would happen during
> the
> > recording, so that the tuning on the repeat was
> > different.
> > 
> > After the first few tries, I began anticipating
> the
> > change in tuning across the repeat. But that only
> made
> > things worse. For over an hour, the first part was
> > perfect but the repeat always sounded wrong.
> > 
> > The more frustrated I got, the less cooperative
> the
> > instrument became. We took a break for about 20
> > minutes, then came back to it. Then we immediately
> got
> > two good takes which we will use doubled. 
> > 
> > Part of my problem may have been that I recorded
> it
> > with minimal delay. Usually, I let the delay blur
> the
> > edges of my playing, so this was like working
> without
> > a net. But that doesn't explain the crazy
> atmospheric
> > changes in my induction. 
> > 
> > Still....on playback the part sounded agressive
> and
> > pretty rockin! All the hard work and frustration
> payed
> > off with some mean, hard oscillations!
> > 
> > Just off the top of my head, I can tell you that I
> > play theremin on five of the tracks on the album.
> > Maybe more. We are nearing the final mix on this
> > project, so it's all starting to become a blur to
> > me.....
> > 
> > I hope we can release this thing soon. I want you
> all
> > to year it!
> > 
> > Peace
> > 
> > Carvin
> > 
> > 
> >      
>
____________________________________________________________________________________
> > Be a better friend, newshound, and 
> > know-it-all with Yahoo! Mobile.  Try it now. 
>
http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
> 
> > 
> > 
> > 
> > AETHERPHON, the global thereminist community
> > 
> > To contact the moderator, e-mail
> porphyrous@...
> > 
> > 
> >  
> > Yahoo! Groups Links
> > 
> > 
> > 
> > 
> 
> 
> AETHERPHON, the global thereminist community
> 
> To contact the moderator, e-mail
> porphyrous@...
> 
> 
>  
> Yahoo! Groups Links
> 
> 
> 
> 
> 



      ____________________________________________________________________________________
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Kevin Asked me

> How do you do "therepercussion"?  Are you processing
> the sound?  The  
> best I've been able to do without processing is a
> fast attack but  
> never a percussive sound (such as a mallet
> instrument).

It's not percussive like a drum or mallet. The point
isn't to imitate but to use the character of the
theremin to create something noisy. I rarely change my
volume range, since drastic dynamics are part of the
style.

My particular version of "therepercussion" is to
create "drum fills" at the end of a 4 or 8 bar
section. This means anything from a fast, wide (often
around a 5th) vibrato that moves toward the antennae,
to long sweeps and "falls" away from the antennae.
Sometimes, I will tap the antennae. Since the
portamento is non-tonal, your mind interprets it as
percussive. Any quick movement of your hand can create
an interesting rhythm.

As I mentioned before, I like to use a big delay when
clubbing, so a fall or tap becomes a rhythmic thing.

It is particularly effective to switch back and forth
between this style and a melodic style.

I feel like I'm divulging a trade secret....I
developed this style while working with house and
drum-n-bass DJs and it made me somewhat popular for a
while, back when I was a part of the scene. I once
opened for Gus Gus, in front of thousands of people
with a light show and go-go dancers. It was, perhaps
my finest show....though now I'm much more
studio-bound.

But my point is that the uses and styles of this
instrument have only begun to be explored! Every noise
you can make with it is valuable.

Peace

C


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On 15 Feb 2008, at 19:45, carvin knowles wrote:

> Kevin Asked me
>
> > How do you do "therepercussion"? Are you processing
> > the sound? The
> > best I've been able to do without processing is a
> > fast attack but
> > never a percussive sound (such as a mallet
> > instrument).
>
I have been known to use a hammer whilst playing. (At Hands Off - in  
front of Lydia Kavina and all the rest)

Set up a delay at a nice speed for a rhythm. Punch into the outer  
surface of the pitch field  - the prelock zone - the "Geiger counter"  
clicky bit - in time with the delay. Builds up quickly into a  
powerful thud thud thud.

Gordon

>
>
> It's not percussive like a drum or mallet. The point
> isn't to imitate but to use the character of the
> theremin to create something noisy. I rarely change my
> volume range, since drastic dynamics are part of the
> style.
>
> My particular version of "therepercussion" is to
> create "drum fills" at the end of a 4 or 8 bar
> section. This means anything from a fast, wide (often
> around a 5th) vibrato that moves toward the antennae,
> to long sweeps and "falls" away from the antennae.
> Sometimes, I will tap the antennae. Since the
> portamento is non-tonal, your mind interprets it as
> percussive. Any quick movement of your hand can create
> an interesting rhythm.
>
> As I mentioned before, I like to use a big delay when
> clubbing, so a fall or tap becomes a rhythmic thing.
>
> It is particularly effective to switch back and forth
> between this style and a melodic style.
>
> I feel like I'm divulging a trade secret....I
> developed this style while working with house and
> drum-n-bass DJs and it made me somewhat popular for a
> while, back when I was a part of the scene. I once
> opened for Gus Gus, in front of thousands of people
> with a light show and go-go dancers. It was, perhaps
> my finest show....though now I'm much more
> studio-bound.
>
> But my point is that the uses and styles of this
> instrument have only begun to be explored! Every noise
> you can make with it is valuable.

> I have been known to use a hammer whilst playing.
> (At Hands Off - in  
> front of Lydia Kavina and all the rest)
> 
> Set up a delay at a nice speed for a rhythm. Punch
> into the outer  
> surface of the pitch field  - the prelock zone - the
> "Geiger counter"  
> clicky bit - in time with the delay. Builds up
> quickly into a  
> powerful thud thud thud.
> 
> Gordon


SWEET!

I'm totally stealing that technique!
Thank G-d for the tap-tempo on my delay.

Carvin


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