YTSEJAM Digest 809
Today's Topics:
1) JennieBear, Pekka Salminen,
by YBBX10C@prodigy.com (MISS JAIME K KIMPTON)
2) Address change again!!
by jskewes@metronet.com (Jason Skewes)
3) The Myung and the Restless
by miker@atn.com (Mike Rashas)
4) Random stuff
by borlangw@dcs.gla.ac.uk
5) Ahoy
by Wilco Barg <WBG@suppcent.ges.getronics.nl>
6) On Dan's Message...
by Hairball <hairball@astro.ocis.temple.edu>
7) Recording TidBits
by Hairball <hairball@astro.ocis.temple.edu>
8) Re: ROSS666
by Steve Borzilleri <silenzio@elwha.evergreen.edu>
9) When are they coming to Europe again???
by Kjetil Nordahl <kjetilno@ifi.uio.no>
10) The Mirror
by mjgundry@mtu.edu (Matt Gundry)
11) "Uno mas cerveza, por favor!"
by Hairball <hairball@astro.ocis.temple.edu>
12) hello
by zebrowski steven <szebro1@gl.umbc.edu>
13) ACOS
by Alex Lifeson <TRMD@grove.iup.edu>
14) another t-shirt post
by Jason Giles <jgiles@crl.com>
15) re: AAAAAAAAAAARRRRRRRRRGGGGGGGGHHHHHHHHH!!!!!!!!
by APJ <japhet@terrapin.rutgers.edu>
16) Miles Vs.Light Years
by cohen.132@postbox.acs.ohio-state.edu (Steve Cohen)
17) Re: YTSEJAM digest 808
by bharath dwarakanath <bdwaraka@midway.uchicago.edu>
18) Re: DT shirt order
by lark@cvfn.org (Jon Larkowski)
19) DT Aliens
by BOB HOLDER <BH7314@LUNDY.NIAGARAC.ON.CA>
20) A Thought On Singing
by Steve Borzilleri <silenzio@elwha.evergreen.edu>
21) What's Subcon Like?
by atkinsro@ix.netcom.com (Rick Atkinson)
----------------------------------------------------------------------
Date: Thu, 04 May 1995 07:05:37 EDT
From: YBBX10C@prodigy.com (MISS JAIME K KIMPTON)
To: ytsejam@anthor.arastar.com
Subject: JennieBear, Pekka Salminen,
Message-ID: <013.06190876.YBBX10C@prodigy.com>
and anyone else who's emailed me recently: I changed over to P* for
Windows last week, and my computer's been really screwy; it lost about five
messages the other night in the middle of downloading. The only ones I
remember for sure are the two in the subject. PLEASE email me again if I
haven't answered you - I'm not ignoring you, I swear! <G> Fortunately, I'm
getting a computer with the WORKS within the next week, hopefully this
system will work better on a 486DX100 with a 28.8 modem, 10 meg, 1
gigabyte, and all that good stuff that won't be outdated _next_ week!
Jaime the <hapless> Dragon
------------------------------
Date: Thu, 4 May 1995 09:44:20 -0500
From: jskewes@metronet.com (Jason Skewes)
To: ytsejam@anthor.arastar.com
Subject: Address change again!!
Message-ID: <199505041444.AA01514@metronet.com>
I have switched back to my old provider so my address has changed once again.
The address has changed from: jskewes@iadfw.net
to: jskewes@metronet.com
I am planning to do a new revision of the FAQ sometime in June. I have been
collecting things from ytsejam, but if anyone has anything specific that
they'd like to see addressed - just lemme know!
Patiently waiting for SUBCONSCIOUS....
Jason
======================================================================
Jason Skewes * 'Nervous flashlights scan my dreams.
Ft Worth, TX * Liquid shadows silence their screams.'
jskewes@metronet.com * DREAM THEATER - 'Under a Glass Moon'
======================================================================
------------------------------
Date: Thu, 4 May 1995 11:01:31 -0400
From: miker@atn.com (Mike Rashas)
To: ytsejam@anthor.arastar.com
Subject: The Myung and the Restless
Message-ID: <199505041501.LAA07835@voyager.atn.com>
Quoth Aviad Hay <aviad@kids-mail.huji.ac.il>:
>John is a king no doubt, and that's the way bass players should be...
>(see Geddy Lee for instance).
>
Hear, hear! Bow to the king, all ye royal subjects!
(Would that be...his royal ytsejam?)
Tricks and special techniques aside (how about that little tap-dance solo on
"Metropolis"?), John (IMHO) is all that a good bass musician should be --
tasteful, unobtrusive (well, for the most part... :) ) yet vital (how many
DT songs would be lacking sorely without that percolating six-string
sound?), and possessing a great tone. Here's hoping that he gets the
widespread recognition he deserves...
>******************************************************
>* " The B-Quad 4 rules!!!! " - A.H & Brian Bromberg. *
>******************************************************
Hmmm...our local stores in South Florida don't seem to carry it (umm...let
me rephrase that -- I haven't SEEN any), but I HAVE certainly heard of its
wonders. And while you're at it, don't understimate the power of a Kubicki
Factor (with the optional string extender, of course...) :)
*sigh* ... so many fine basses, so little $$$$$ to spend on them... :)
Perhaps this issue was discussed at an earlier time, but since I am a fairly
new subscriber, please bear with me... (*ahem*)
Someone was kind enough to post the source of the first spoken-voice part on
"Space-Dye Vest" (a movie whose title, unfortunately, escapes me at the
moment). What about the rest of the spoken-word parts? Does anybody even
know what they say, and/or their relevance (if any) to the song?
Peace, love, and the pursuit of low frequencies,
********************************
* *
* Michael Rashas *
* miker@atn.com *
* "Have bass, will travel" *
* *
********************************
JJJJJ U U I CCC EEEEE
=============================================
J U U I C E | "The key to life is simply sticking
around" |
J U U I C EEE | -- Ed Ethridge, "Questions"
|
J J U U I C E | 1993, Edened Music
|
JJ UUU I CCC EEEEE
=============================================
------------------------------
Date: Thu, 4 May 95 14:44:21 BST
From: borlangw@dcs.gla.ac.uk
To: ytsejam@anthor.arastar.com
Subject: Random stuff
Message-ID: <9505041344.AA07110@uliaga.dcs.gla.ac.uk>
A few random things today . . .
1) > Synopsis: If it's not Scottish, it's CRAP!!!
The guy who wrote this . . . you're now on my Christmas-card list :)
Everyone come and visit Scotland . . . it's really nice in summer, and you
can have tea at my place :)
2) I need a high-quality, high-res gif of the DT logo (NOT the M-symbol, but
the words 'Dream Theater', the gold words on the Awake cover). Can anyone
help me with this? I don't want fancy patterns, or the burning flames, or
anything - just plain black text on white would be perfect!!
3) The new Netscape with the supposed M-symbol hidden in the logo . . . is this
on all versions of Netscape? This department just got the latest Netscape
for X, and it's that plain old boring N again.
4) Does anyone else wich that Mike and John P. would make their minds up about
whether or not they want a beard? Each time I've seen them live, on video, in photos, etc, they seem to swap around . . . do they have one beard which
they share between them?? :)
See ya all later . . .
Graham B.
------------------------------
Date: Thu, 04 May 1995 16:31:23 +0200
From: Wilco Barg <WBG@suppcent.ges.getronics.nl>
To: ytsejam@anthor.arastar.com
Subject: Ahoy
Message-ID: <sfa9017a.002@suppcent.ges.getronics.nl>
Mike (Bahr) lucky enough DT doesn't play in Ahoy yet. The atmosphere
isn't that great, comparing to small venues like Vredenburg, Utrecht
(3,000 seats). But if they continu to grow around this area the next tour
will mean playing in Ahoy. Ruud is right about Ahoy. getting a card for
that sort of concerts means lying around for a night at a ticket-office. By
the way Ruud I didn't know they played Nijmegen as well.
The only way of getting a good show in Ahoy is having a seat in the
Arena. otherwise the sound isn't that great. Especially the seats near the
roof, as Ruud mentioned, are terrible. The sound echoes back from the
roof over there. So please keep them small and let them play Vredenburg
for two, three of even four nights.
Seeing Rush in Ahoy was great. But, I have to say, I had an Arena seat
twice (1989 and 1993). By the way do you still have those videos of
Rush for sale (mentioned in digest 803). If so can you convert them to
PAL.
Greetings,
Wilco Barg
WBG@GSS101.GES.GETRONICS.NL
----------------------------------------------------------------------------------------
I know it's easy to walk away and leave it all behind (Surrounded)
----------------------------------------------------------------------------------------
------------------------------
Date: Thu, 4 May 1995 10:30:43 -0400 (EDT)
From: Hairball <hairball@astro.ocis.temple.edu>
To: ytsejam@anthor.arastar.com
Subject: On Dan's Message...
Message-ID: <Pine.BSD.3.91.950504102820.9572C-100000@astro.ocis.temple.edu>
I re-read what you said, and realized I was thinking of the wrong
article. I've been a GFPTM subscriber for YEARS now, and I remember the
article you're referring to.
I got it confused with the article that ran with Ozzy talking about Randy.
Anyway, regardless, I'm still right...just wanted to let you know that I
do know what you're referring to. And what you're saying is that he
played the same parts, 2 or 3 times, the same way. That's double/triple
tracking, my friend. Defined in a nutshell.
Sorry if it seemed a bit fierce, but, I hate it when engineering stuff
gets screwed up.
-Apologies, Hairball.
------------------------------
Date: Thu, 4 May 1995 10:26:48 -0400 (EDT)
From: Hairball <hairball@astro.ocis.temple.edu>
To: ytsejam@anthor.arastar.com
Subject: Recording TidBits
Message-ID: <Pine.BSD.3.91.950504094448.9572B-100000@astro.ocis.temple.edu>
> who got an advance copy... :), so one of the first things I noticed was
> the picture of the band in the studio, all in the same room. I think
> this method of recording had a lot to do with the album sounding so live;
> as you recall from LiT, they recorded I&W in seperate rooms (a common
> practice) and the result lacked the dynamic live sound of Awake.
> --Rob
Rob, this depends.
If you look carefully, John's amp is enclosed in plexiglass, or
some other form of sonic barrier. This is to help reduce the amount of
what we like to call "bleeding." When something bleeds, it means it is
picked up by another mike in the room.
I don't see any mics on John M's bass amp - just his rack system
of effects. Chances are, they took a split signal, direct from his bass,
and a signal direct from his effects chain, and combined the two. Of
course, I wasn't there, so, ask someone who was - just call it an
educated guess. =)
The keyboards are also lined-in. No mike, no room sound.
All of the effects on James's voice are added during the mix (as
far as I know - again, I wasn't there, but, it's not common practice to
record vocals with effects being committed to tape. Sure, the vocalist
may hear his/her voice "effected" but, it's USUALLY going "dry"
(uneffected) to tape. People DO record f/x to tape, but, I'd think twice
before doing it on vocals. (They did record some of J.P.'s guitar effects
to tape...)
I think what makes the album more "live" sounding is staring you
in the face in that picture. THE DRUMS. Look at the SIZE of that room!
There's hard-wood nearly EVERYWHERE! Reverberation CENTRAL! That's what
makes things sound live - the room resonance. And, since we most likely
assume that there were no mikes out in the room made to collect the only
signal besides the drums that needed a mic (the guitar), that the effects
were either added later, or, they were from John's amp. Otherwise, the
drum mikes would've picked up the guitar, or vice-versa.
Besides, you can tell that the guitar is close-miked (I know they
used at least 3 mikes on each cabinet side...GFPTM). Listen to that PICK
RUMBLE! =)
Of course, there's the arguement about how playing in the same
room with the other people can create interaction...but, that's not my
department. =)
> From: "Dan Tshin"
> Subject: Double Tracking?
>
> Hey I thought Randy NEVER double or triple tracked!! I thought he
> played it AGAIN, NOTE for NOTE.
Dan,
Here's a primer lesson in how not to put your foot in your mouth.
First of all, let's define what DOUBLE/TRIPLE Tracking is, and
discuss why it is done.
As you may or may not know, every note has a frequency, and has
harmonic overtones, etc. These can be seen with a frequency analyzer, or
an osciloscope, usually in the cases of pure tone. However, it's not
frequently done, so just keep that in the back of your mind.
Now, in the case of double tracking, there are many who feel that
the effect of having the same part played twice, then mixed together,
create a fatter, fuller sound. Why?
Well, simple, my friend. It's a simple concept known as
CONSTRUCTIVE INTERFERENCE. Of course, there is also DESTRUCTIVE
Interference, and, as this comes into play with this, we will also
discuss this.
Anyway, what BASICALLY happens is, when you want to DOUBLE or
TRIPLE or QUADRUPLE track something, YOU HAVE TO PLAY/SING IT TWO, THREE
OR FOUR TIMES. The RESULTING SOUND is very much like a chorusing effect.
FACT: Randy DID DOUBLE AND OCCASIONALLY TRIPLE TRACK HIS LEADS.
FACT: IT IS HUMANLY IMPOSSIBLE TO PLAY SOMETHING EXACTLY THE SAME
EVERY SINGLE TIME. IF IT WERE, THEN THERE WOULD BE NO SUCH THINGS AS
CONSTRUCTIVE AND DESTRUCTIVE INTERFERENCE.
There are certain harmonic overtones, and phase inconsistancies
that naturally occur. They can be as subtle as a fingernail touching the
string and causing an harmonic overtone on a 32nd note, but, THAT NOTE
IS SONICALLY DIFFERENT. PERIOD.
FACT: IT IS HUMANLY POSSIBLE TO PLAY THE SAME EXACT NOTES SEVERAL
TIMES, OVER AND OVER AGAIN. IF YOU DON'T THEN THIS WON'T
WORK!!!!
And, essentially, you've contridicted yourself in your statement.
To Double/Triple-Track, it must be the same PART played correctly, over
and over again. HOWEVER, there are inherent sonic differences (hey, if
they change a patch cord, or he uses a different pick, it's SONICALLY
DIFFERENT) that CANNOT be corrected. No, not even samples, or keyboards,
or computers are immune to constructive/destructive interference.
And remember: OZZY was probably so drugged out at the time, he
had no clue what was going on around him. Besides, he didn't engineer the
recording - he probably heard Randy doing the same lead again and again,
and thought they sounded the same. I'm not saying Ozzy's clueless; I'm
just saying, he's not an engineer, and he's not a guitarist. And, if you
listen carefully, especially to CRAZY TRAIN, you WILL hear subtle
differences in the way he played each part. And on DEE as well. Two
guitars were used for that: one Nylon String, One Steel String.
Open mouth, insert foot. =)
Regarding This:
> Am I ever gonna change, will I always stay the same
> say one thing,then I do the other
> same old song, goes on forever
> rise, rise n'shine, a new day is coming
> yes it is --Extreme, Who Cares? (see Romans 7:17-25)
Most of the lyrics (as this person obviously knows) for that whole
"thing" came from the bible. =)
For the few of you who don't know what this is from, it's from
extreme's "III Sides To Every Story," part III: Everything Under The Sun
(or "The Truth"), a conceptual 21-odd minute piece that runs over 3
tracks, and contains a 78 piece orchestra. (Deja Vu?) It relates to a
man's search for peace within himself and with God.
What makes it musically interesting, and serves to tie the pieces
together, is the "music box" effect at the beginning and the end of the 3
tracks. The music box represents "birth" or his early years...and right
before the HUGE EPIC ENDING where all three parts converge as the
orchestra swells (listen for it! it's cool! You can hear all three parts
being sung at the same time...if you haven't noticed yet!)...
Anyway, let's just say that the ending returns to the music box,
and it's slowly winding down, symbolizing the end of his life...and it
stops ONE NOTE SHORT of RESOLVING THE MELODIC PATTERN...therefore meaning
that his search was not completed, and he died with the conflict being
"unresolved."
NEAT NEAT NEAT! =) I love Extreme. =)
As agnostic as I am, I don't mind. =)
Hope my babbling didn't annoy anyone.
-Hairball, the long-winded
..there are three sides to every story...yours, mine & the truth...
------------------------------
Date: Thu, 4 May 1995 08:07:39 -0700 (PDT)
From: Steve Borzilleri <silenzio@elwha.evergreen.edu>
To: Dream Thespians <ytsejam@anthor.arastar.com>
Subject: Re: ROSS666
Message-ID: <Pine.3.89.9505040736.A17662-0100000@elwha.evergreen.edu>
To AirDance@aol.com: I find it extremely distasteful to put someone's home
address on a mailing list without their consent. Please tell me you
actually talked to this person and asked them what was up before you put
their home address on the Ytsejams for hundreds of people to mail to, or
flame the hell out of via their America Online address.
This happened with that Jeremy fellow, and what really stunned me was that
the guy who HAD his number didn't try CALLING him first. Instead, he threw
Jeremy's home phone number up on this list so that the world could call
him. Did anyone ever find out what happened with him or are we still
calling him to tell him he sucks and writing him hate mail? Yes, I know he
screwed a lot of people, but personally I would try to establish contact
myself and TALK to him and see what's up before doing something like this.
Bafu Vai
------------------------------
Date: Thu, 4 May 1995 17:09:52 +0200 (MET DST)
From: Kjetil Nordahl <kjetilno@ifi.uio.no>
To: ytsejam@anthor.arastar.com
Subject: When are they coming to Europe again???
Message-ID: <199505041509.12387.solva.ifi.uio.no@ifi.uio.no>
Hello you all.
Anyone know when DT comes to Europe again. I missed them earlier this
year. Someone mentioned that they were coming to Germany in June and
Holland in July. Does anybody know more specific when and where (city)?
Other countries?
- Kjetil -
------------------------------
Date: Thu, 4 May 1995 11:38:42 -0400
From: mjgundry@mtu.edu (Matt Gundry)
To: ytsejam@anthor.arastar.com
Subject: The Mirror
Message-ID: <199505041538.LAA13005@mtu.edu>
As to the rythm thing happening in The Mirror- its something I and many
others call a polyrythm (but I won't swear that this is the correct term).
Dream Theater uses it often as a technique to change tempos. The most
notable of these is probably The Mirror and Take the Time. Essentially, John
plays the three sixteenth-note rythm on each beat as Mike bashes along in a
sixteenth based groove. Then things get a little weird. Mike increases the
tempo by exactly 4/3 of the original tempo as John continues on. The
resulting rythm is a sixteenth-to-triplet rythm transformation.
(Ain't ansi TAB a bitch!)
x denotes a hit
\ denotes a rest
x x x \ x x x \ x x x \ x x x \
|_|_|_| |_|_|_| |_|_|_| |_|_|_|
becomes
x x x \ x x x \ x x x \
|_|_| |_|_| |_|_| |_|_|
This is a great rythm technique. Used in conjuction with other rythm warping
techniques, one can achieve nearly any tempo change with perfect fluidity.
Dream Theater has it down cold.
If any drummers are interested, Joe Morrelo's solo book "Off the Record" has
some rythm work that includes this type of "polyrythm", as well as
triplet-over-eigths and triplet-over-sixteenths.
Later
Matt Gundry
_ _ _
/ \/ \/ \ _ _/_/_
/ / / / \ / /
/ / / \_/ \_/\_/\_
mjgundry@mtu.edu
mjgundry@cvfn.org
Voice/Data/Fax (906)-482-4187
------------------------------
Date: Thu, 4 May 1995 11:41:15 -0400 (EDT)
From: Hairball <hairball@astro.ocis.temple.edu>
To: ytsejam@anthor.arastar.com
Subject: "Uno mas cerveza, por favor!"
Message-ID: <Pine.BSD.3.91.950504113427.23590A-100000@astro.ocis.temple.edu>
YES! YES! =)
iTres or quatro mas cervezas! (like the "i" for the inverted "!"?")
Looks like Mike could help me with my spanish III class that i have to
take to graduate from college.
So, let me share this with those of you who care:
I FINALLY got just about everything straightened out with Temple
University, and I've RE-registered for the LAST FOUR COURSES I AM GOING
TO EVER TAKE AT THAT GOD FORSAKEN UNIVERSITY!
That's right: Come August, I will be a KOLLEDGE GRADUATE! (oops, did I
mysspell that? No, it's t-h-a-t. Hmm...)
Anyway, just thought I'd again apologize for seemingly ripping one guy
named Dan a new anal orafice. =)
And, hey, Mike: I'll be waiting for Subconsious to arrive soon.
Hopefully, it won't get tossed in with all the CDs that come here for the
guys who are college reps for major labels. :(
I'll know if one of them gets it - one lives next door, and the other
lives up stairs...and have stereos loud enough to reach the threshold of
pain....ouch...and neither of 'em like DT, so, I'll have to act fast,
before my CD turns into a frisbee! =)
------------------------------
Date: Thu, 4 May 1995 11:56:51 -0400 (EDT)
From: zebrowski steven <szebro1@gl.umbc.edu>
To: ytsejam@anthor.arastar.com
Subject: hello
Message-ID: <199505041556.LAA22795@rpc15.gl.umbc.edu>
Good morning, everyone. Here I am cutting sociology again, for no good reason
other than to come to the lab and read my mail. I _finally_ went to the post
office yesterday to mail my MO for the Subconscious CD <can't wait>. I need
Dream Theater to tour again NOW!!! I need to hear their music ABOVE the pain
threshold. That reminds me, in all my griping about James's voice I seemed to
forget how great he sounded the times I've seen them live. Or at least, how
good he _seemed_ to sound. I first saw them at the second Hammerjacks date on
I&W tour, and I thought he was a GOD. Then I heard a boot of that show, and
he actually sounded pretty bad. Pier 6 was also phenomenal, but on Awake tour
the played Hammmer's again, and James sounded really good, but two days later
I have a vid of the Pitts. show and he sounded like he was having a hard time
of it. Does anyone else notice that he sounds better when you're there as
opposed to when you hear a boot? Japan PPV excluded :P.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
<"...Thought disorder; ___ ___ ___ _ _ ___ ___ "Balls and chunk is >
<Dream control. Now | __||_ _|| __|| V || __| |_ | where it's at." >
<they read my mind on |__ | | | | __| \ / | __| / / --Mike Portnoy, LiT >
<the radio...But where|___| |_| |___| V |___| |___|"I think SpontanUity!">
<was the Garden of Eden?" szebro1@gl.umbc.edu --John Petrucci, X103>
<--John Petrucci, Voices Radio Show>
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
------------------------------
Date: Thu, 04 May 1995 10:58:16 -0500 (EST)
From: Alex Lifeson <TRMD@grove.iup.edu>
To: ytsejam@anthor.arastar.com
Subject: ACOS
Message-ID: <01HQ3PIIOOC291WMBD@grove.iup.edu>
I don't know if this had already been brought up here, but has anybody
noticed (and I'm sure you have) that at about 16:52 on the subconscious version,
doesn't that sound an aweful lot like A MAtter of Time, near the end of it. I
know that the chords are exact, but some are identical, and the keyboard part is
even closer. Crazy, eh? Well, let me know if I'm not the only one. Brian
--------------------------------------------------------------------------------
"Just another dreamer, with a plastic guitar..." - Rush, refering to me
This is my mail.sig file. I hope you like it.
YAY. Rush rules. As does Genesis.
Dream Theater ain't so bad, neither.
"If you goal is to win, and you don't, you lose;
If your goal is to do your best, and you do, you win"
- some 'important' guy
"If your goal is to win, and you don't, you lose;
If your goal is to conquer the world, and you do, you win"
- Me
"A new Rush album is like a box of chocolates - you never know
what you're gonna get..." - Me (boy, I am a thoughtful Philosopher)
------------------------------
Date: Thu, 4 May 1995 09:48:27 -0700
From: Jason Giles <jgiles@crl.com>
To: ytsejam@anthor.arastar.com
Subject: another t-shirt post
Message-ID: <199505041648.AA20359@crl.crl.com>
Another plug for my T-Shirts! Sorry to keep bugging all you readers! ;-)
Here goes:
The shirts are black 100% pre-shrunk cotton, with the Majesty logo on the
front breast. Underneath it 'ytesejam the internet mailing digest' is written.
On the back there is a large DREAM THEATER logo, with 'let the light surround'
you written in greyish, glow in the dark ink.
The cost is $14 each, domestic shipping included. Foreign shipping is an
additional $4 per item (except Australia, who add $6 per item). There is no
increase for Canadian orders.
Sizes are S, M, L, XL, XXL (+$1.00), XXXL (+$1.50). My deadline for orders
is May 15th. Please send your money, as I plan on ordering by that date, and
having them by the end of May for shipment to all orderers. Send money to
Jason Giles, 3200 Payne Ave. #525, San Jose, CA 95117. Checks or cash, or
money orders are fine (the non-bouncing kind of check is the only kind
I'll accept. ;-))
Please e-mail me your order, with (1) size, (2) quantity, (3) YOUR SHIPPING
address, (4) your e-mail address and (5) how much your sending me. I will
confirm your order via e-mail, at which time you should send out the money.
Orders or questions: e-mail me at JGILES@CRL.COM
WWW: http://www.crl.com/~jgiles/shirts.html
FTP: ftp.crl.com, directory: /users/jg/jgiles, login: anon., passwd:e-mail add
files via anonymous ftp are GIFs or UUE files. Check em out! now back to
your regularly scheduled program...
also, IF YOU ARE LOSING YOUR EDU ACCOUNT FOR THE SUMMER SOON, MAKE SURE
YOU GIVE ME THE APPROPRIATE ADDRESS TO SEND THE SHIRT TO! Thanks!
------------------------------
Date: Thu, 4 May 1995 13:32:07 -0400
From: APJ <japhet@terrapin.rutgers.edu>
To: ytsejam@anthor.arastar.com
Subject: re: AAAAAAAAAAARRRRRRRRRGGGGGGGGHHHHHHHHH!!!!!!!!
Message-ID: <199505041732.NAA03790@terrapin.rutgers.edu>
Actually, I don't think those jokes are funny anymore, I guess it's
maybe 'cuz I'm from Montclair NJ and I happened to know Scott & Ern
personally.
On a side note, I know this must be kinda old by now, but I finally
went out and bought the Dream Theater live in Tokyo, Japan VHS video.
If you don't have this (and you have a VCR of course) you MUST get
it. 'nuff said.
APJ
------------------------------
Date: Thu, 4 May 1995 14:22:47 -0400
From: cohen.132@postbox.acs.ohio-state.edu (Steve Cohen)
To: ytsejam@anthor.arastar.com
Subject: Miles Vs.Light Years
Message-ID: <199505041822.OAA25670@postbox.acs.ohio-state.edu>
>> 93 MillionLIGHT YEARS and the technology only permits 45 seconds of music?
>> Pretty absurd but this is an interesting thread. I have to answer.How about
>> the combined solos on Take the time? Or possibly the incredible chromatic
>> melody on CiaW? Remember, it's 1:30 at night, and my brain is shutting down.
>> -Steve
>
>(93m miles is the approximate distance from the earth to
>the sun, btw)
Hey, there is a HUGE difference between a mile and a light year. Let's see,
light travels at186,000 miles per SECOND, so that would make a light year
about 5,865,700,000,000 MILES long. Five trillion miles is a little longer
than 93 Million. Just to clarify:).
Anyway, that rather long winded reply to a semi - flame covers my initial
purpose. I just wanted to tell everyone that Mike Bahr rules! Thanks man, I
can't wain until I have subconscious in my hot little hands!
-Steve
****************************************************************
* "Fancy lad FANCY LAD hahahahahah!!" - Some lady at Cabin Boy *
* "Brebbe Debbe De" -Jeff Stern *
* "Wheels within wheels in a spiral array; -Rush *
* Rush Dream Theater Queensryche Yes and Extreme *
* cohen.132@postbox.acs.ohio-state.edu : Email *
* And that is all I have to say *
****************************************************************
------------------------------
Date: Thu, 4 May 95 15:52:23 CDT
From: bharath dwarakanath <bdwaraka@midway.uchicago.edu>
To: ytsejam@anthor.arastar.com
Subject: Re: YTSEJAM digest 808
Message-ID: <CMM.0.90.4.799620743.bdwaraka@quads.uchicago.edu>
Aviad Hay writes of a 'wild part' in PMU that involved myung tapping...does
myung tap on PMU, and if so where? Or did he mean metropolis and I
misunderstood him?
thanks,
bharath dwarakanath
bdwaraka@midway.uchicago.edu
------------------------------
Date: Thu, 4 May 1995 16:13:30 -0600
From: lark@cvfn.org (Jon Larkowski)
To: ytsejam@anthor.arastar.com
Subject: Re: DT shirt order
Message-ID: <v01510100abcf017cd3d0@[160.32.2.106]>
>I wish to order a DT Ytsejam shirt. Here's the information you requested.
>
> (1) XL
>
> (2) one
>
> [BLAH BLAH BLAH]
Well ain't I just stupid! Sorry about that. I guess I should learn how to
use my reply function properly.
Well, now you all know where I live, stop by sometime and we'll talk DT. :)
See ya!
P.S. SORRY!!! Also, maybe I see some of you at the QR show on Satuday at
the Target Center. Later!!!
--::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: :: _ _____ _____ _ __ :: :: :: :: | | | _ | _ | | / / :: Jon Larkowski :: This space :: :: | | | |_| | |_| | |/ / :: Covert Free-Net Operative :: intentionally :: :: | |__| _ | _ <| |\ \ :: lark@cvfn.org :: left blank. :: :: |____|_| |_|_| \_|_| \_\ :: :: :: :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
------------------------------
Date: Thu, 4 May 1995 13:07:47 -0400 (EDT) From: BOB HOLDER <BH7314@LUNDY.NIAGARAC.ON.CA> To: ytsejam@anthor.arastar.com Cc: BH7314@LUNDY.NIAGARAC.ON.CA Subject: DT Aliens Message-ID: <950504130747.20204d8c@LUNDY.NIAGARAC.ON.CA>
I think I would give the aliens 45 seconds of The Mirror to satisfy them temporarily. They would really flip "Way-out" (see Flintstones) when they returned home with my reserve ghetto-blaster loaded with new batteries and WDADU, IAW, and AWAKE all on cassette. This should impress their elders with our advanced magnetic recording media. In the immortal words of Sammy Hagar: "Hey there's Jim Kelly. Let's get him up here on stage and shave his f**king head!" Middle of first encore, May 2, 1995, The Aud, Buffalo "And another thing, stop breath in my cup" Bugs Bunny to the rather large Gorilla This marking final exams and projects thing is really getting on my nerves! See Ya, Bob "How can I see tomorrow if you keep me in the dark" Face against my soul - sUBHUMAN rACE - Skid Row
------------------------------
Date: Thu, 4 May 1995 15:56:37 -0700 (PDT) From: Steve Borzilleri <silenzio@elwha.evergreen.edu> To: Dream Thespians <ytsejam@anthor.arastar.com> Subject: A Thought On Singing Message-ID: <Pine.3.89.9505041553.A21489-0100000@elwha.evergreen.edu>
Did it ever occur to anyone that if Mike Portnoy happens to miss a cymbal, he can play through it, he gets about 1000 more chances to hit it again during the show, and no one really notices with all the other instruments playing?
The same could be said of John Myung missing a note here or there, or being a fret off. It's more noticeable with Derek or John, since they have loud solo parts. If Petrucci were to foul up, I wouldn't really care, because I know he's John Petrucci. All of his parts are difficult. Also, I know he's got tons of ability and he can play anything written by John Petrucci.
The voice, on the other hand, is not nearly as easy to maintain as the arms or fingers. If Portnoy breaks his arm, he does no drumming. If Myung, Sherinian, or Petrucci get their hand caught in an electric can opener, they aren't doing much playing. Those are pretty severe cases, though, and those cases are probably what it would take to put those guys out of action for the night, or to make their performance noticeably horrible to the point where people question their overall ability.
The voice takes MUCH less to make it inoperable or unsatisfactory for the entire night. "Oh, I was just drinking some water and it went down the wrong way. Now I'm coughing like a maniac and my voice is screwed up. Oh well, time for a 2-hour show..." Not to mention the fact that the voice is usually the clearest and loudest instrument of the band.
James LaBrie, widely thought of as inconsistent or a "studio wonder," has to use this instrument known as the Voice. Good luck, James, that's the most unreliable instrument of all. As I said before, if Portnoy misses a cymbal hit, he can play through it. If James' voice cracks on one note, it does something to his voice. When that happens while you're singing, you may feel a slight pain in your throat, and in general you become aware that you should stop singing, perhaps warm up a little more, perhaps wait a while before attempting parts not meant for the human vocal range(a la Dream Theater), or in the case of 90% of rock singers, take a swig of Evian!
What does this mean? Basically, don't count on the vocalist of Dream Theater to be dead-on 100% of the time. If a vocalist pushes themselves too far, which James is known to do, they only have to do it ONCE to foul up the next three hours of singing. If an opera-singer's voice cracked, they would never try to sing THROUGH it, because it would ruin the performance! The performance would probably be cut short if Placido Domingo's voice suddenly gave out or began cracking during a show. If Michael Crawford (Phantom Of The Opera) had a sort throat, I'm sorry folks, his understudy would take the lead role. There are alternatives when those guys have trouble.
LaBrie has no understudy. Unlike opera-singing, ALL of Dream Theater's vocals are James LaBrie and James LaBrie only. That type of vocal stamina is inhuman, and expecting it from anyone is, in my opinion, expecting too much from a singer. He has his good nights, which are perfect, and he has his bad nights, which are horrendous. You never hear opera-singers "bad nights" because they do not exist. If Domingo knows he will have a bad night, the show does not occur. This rarely happens, but if it did, I can assure you his performance would not take place.
What happens if Domingo pushes himself anyway when he knows his voice is not in perfect form, and sings a horrible show? Wouldn't that do something to his voice? Wouldn't it affect his singing? Do you think after two hours of screeching and cracking, he would willingly do it AGAIN the next night? Do you think he would willingly continue to do show after show in that condition?
James LaBrie does not have that choice, yet many people seem to think that his cracking is because "he really can't sing." I urge people to consider just how delicate the instrument The Voice really is, and how much a singer has to take care of it and basically live around it to be in top condition at all times. And, like someone else pointed out recently, he IS in quite an outfit to keep up with(DT)!
Bafu Vai
------------------------------
Date: Thu, 4 May 1995 16:11:42 -0700 From: atkinsro@ix.netcom.com (Rick Atkinson) To: ytsejam@anthor.arastar.com Subject: What's Subcon Like? Message-ID: <199505042311.QAA04950@ix4.ix.netcom.com>
For those who have already received Subcon, what's it like? Which songs are the best? Better yet, I would like to see an in-depth review from someone of each song (Well, if anyone has the time).
Anyway, this is my first post, so I'll ask another question. Does anyone know what Kevin is currently up to now that his demo is floating everywhere?
Thanks,
Rick A
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End of YTSEJAM Digest 809 *************************
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