to the first, generating a decaying noninfinite loop continually replaced by new material as long as there's tape. The repeat's periodicity (the deck-to-deck distance divided by tape speed) and the tape's length were the only constraints. Now, with digital delay, such limits are replaced by the memory capacity of the recording device and delay boxes: I've done delays up to four hours long with at-will change in periodicity from milliseconds to 30 seconds. So in this Age of the iPod, I hereby offer you, for streaming or download, not only digitizations of the old 45's (a full 7" reel of tape lasted about 45 minutes @ 7.5 ips) but also the newer, longer, digital delays. Distribute them as you wish: I just want You the Public to enjoy this intellectual property of mine as I have, and to share the fun we had. I'll still sell you a CD version of any of these if you really want it. (The fidelity is marginally better.) The delays over 78 minutes, though, are split onto several discs and so won't play continuously. For this reason I think the CD will follow the path of the audiocassette and the beloved 8-track. So get them while supplies last. . .

Delays often are categorized as "experimental music" — inaccurate for these delays. We know exactly what we're doing. Improvisation, like speech, is not experimentation. We don't wait and see what happens: we make it happen.

Instrumentation varies from acoustic noisemakers through acoustic and electronic musical instruments, including — most prominently — the voice, electric dulcimers, mandolin, and (later) the DX7II.

Click on Images for More Info & Sound Clips. They're displayed in chronological order.