Jacob Barton - Revision history

Fredg999: Cleanup progress report

2022-04-10T21:48:12Z

Cleanup progress report

@@ Line 19: / Line 19: @@
 === Barton in 2011 ===
 [http://jacobbarton.net/ Jacob A. Barton]{{dead link}} (b. 1985) decided in 2003 to make the rest of his music as microtonal as possible. Seeing the dearth of mere musical examples of many interesting tunings, he started a [http://soundclick.com/funwithxenharmonicity Soundclick page] to share his microtonal meddlings, for better or for worse. Concurrent with an encounter with the [http://designingasociety.net/ School for Designing a Society] in 2005, a series of fortunate events led to the invention of the [http://udderbot.wikispaces.com UDDERBOT], a microtonally capable slide woodwind instrument. Jacob is currently teaching at the School for Designing a Society, organizing a [http://oddmusicuc.wordpress.com/programs/xenharmonic-praxis-summer-camp/ Xenharmonic Praxis Summer Camp], and spreading the udderbot gospel. Jacob helped to start this wiki and has left several incomplete ideas lying around which you are free to build upon.
 === Late composers Barton has idolized ===
@@ Line 43: / Line 29: @@
 * [[Herbert Brün]]
 * [[J. S. Bach]]
 == External links ==

Fredg999 category edits: Moving from Category:Instrument maker to Category:Instrument makers using Cat-a-lot

2022-02-23T00:02:58Z

Moving from Category:Instrument maker to Category:Instrument makers using Cat-a-lot

← Older revision		Revision as of 00:02, 23 February 2022
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	[[Category:People]]		[[Category:People]]
	[[Category:Composers]]		[[Category:Composers]]
	[[Category:Instrument ~~maker~~]]		[[Category:Instrument makers]]
	[[Category:Musicians]]		[[Category:Musicians]]

Fredg999 category edits: Moving from Category:Composer to Category:Composers using Cat-a-lot

2022-02-22T23:57:02Z

Moving from Category:Composer to Category:Composers using Cat-a-lot

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	{{DEFAULTSORT:Barton, Jacob}}		{{DEFAULTSORT:Barton, Jacob}}
	[[Category:People]]		[[Category:People]]
	[[Category:~~Composer~~]]		[[Category:Composers]]
	[[Category:Instrument maker]]		[[Category:Instrument maker]]
	[[Category:Musicians]]		[[Category:Musicians]]

Fredg999 category edits: Moving from Category:Musician to Category:Musicians using Cat-a-lot

2022-02-22T23:55:04Z

Moving from Category:Musician to Category:Musicians using Cat-a-lot

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	[[Category:~~Musician~~]]		[[Category:Musicians]]

Fredg999: Added link to user page, added external links, misc. edits, categories, sort key

2022-01-23T16:27:12Z

Added link to user page, added external links, misc. edits, categories, sort key

← Older revision		Revision as of 16:27, 23 January 2022
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			{{See also\|User:Xenjacob}}
	'''Jacob A. Barton''' (b. 1985) (ASCAP) (he/e/em/is) is a multi-instrumentalist, designer, and composer whose work has focused xenharmonic praxis and the exploitation of tonal harmony and pop rhythms towards experimental mentality.		'''Jacob A. Barton''' (b. 1985) (ASCAP) (he/e/em/is) is a multi-instrumentalist, designer, and composer whose work has focused xenharmonic praxis and the exploitation of tonal harmony and pop rhythms towards experimental mentality.

	== Multi-instrumentalist ==		== Multi-instrumentalist ==
	17-part one-man-band in [[~~17-EDO~~]]: https://vimeo.com/72140475		17-part one-man-band in [[17edo]]: https://vimeo.com/72140475

	== Instrument designer ==		== Instrument designer ==
Line 16:		Line 17:
	* Barton earned a boot-camp Javascript dev certificate (2019), hopes to contribute to the vision of ever-expanding microtonal [[software]].		* Barton earned a boot-camp Javascript dev certificate (2019), hopes to contribute to the vision of ever-expanding microtonal [[software]].

	===Barton in 2011===		=== Barton in 2011 ===
	[http://jacobbarton.net/ Jacob A. Barton] (b. 1985) decided in 2003 to make the rest of his music as microtonal as possible. Seeing the dearth of mere musical examples of many interesting tunings, he started a [http://soundclick.com/funwithxenharmonicity Soundclick page] to share his microtonal meddlings, for better or for worse. Concurrent with an encounter with the [http://designingasociety.net/ School for Designing a Society] in 2005, a series of fortunate events led to the invention of the [http://udderbot.wikispaces.com UDDERBOT], a microtonally capable slide woodwind instrument. Jacob is currently teaching at the School for Designing a Society, organizing a [http://oddmusicuc.wordpress.com/programs/xenharmonic-praxis-summer-camp/ Xenharmonic Praxis Summer Camp], and spreading the udderbot gospel. Jacob helped to start this wiki and has left several incomplete ideas lying around which you are free to build upon.		[http://jacobbarton.net/ Jacob A. Barton]{{dead link}} (b. 1985) decided in 2003 to make the rest of his music as microtonal as possible. Seeing the dearth of mere musical examples of many interesting tunings, he started a [http://soundclick.com/funwithxenharmonicity Soundclick page] to share his microtonal meddlings, for better or for worse. Concurrent with an encounter with the [http://designingasociety.net/ School for Designing a Society] in 2005, a series of fortunate events led to the invention of the [http://udderbot.wikispaces.com UDDERBOT], a microtonally capable slide woodwind instrument. Jacob is currently teaching at the School for Designing a Society, organizing a [http://oddmusicuc.wordpress.com/programs/xenharmonic-praxis-summer-camp/ Xenharmonic Praxis Summer Camp], and spreading the udderbot gospel. Jacob helped to start this wiki and has left several incomplete ideas lying around which you are free to build upon.

	===Response to [[~~ProgressReport\|~~ProgressReport]] (from May 2007)===		=== Response to [[ProgressReport]] (from May 2007) ===

	''What was your path to discovering alternate tunings?''		''What was your path to discovering alternate tunings?''
Line 31:		Line 32:
	Here are the things I've tried, in roughly chronological order, which I've called "Microtonal Solutions", many of which involve Western acoustic instruments:		Here are the things I've tried, in roughly chronological order, which I've called "Microtonal Solutions", many of which involve Western acoustic instruments:

	<ol><li>obtain a '''reed organ''' and retune the reeds. Scrape the tips to raise pitch; scrape base of reeds to lower. I retuned a low-end electric-motor organ to 3 octaves of harmonics 12-24 and called it "otonal organ". Good for JI, but hard to get exactly right. It's still not exactly right.</li><li>synthesizer (MR-Rack) with a user tuning table. I wrote a piece where the tuning was supposed to change between sections, so I rigged '''Max/MSP''' to send the appropriate sysex messages triggered by a pedal. Piece was for 3 live keyboards, but in performance I accidentally hit the pedal too many times and was stuck playing two sections in the wrong tuning - yuck!</li><li>when '''Scala''''s GUI version became available for Mac I made quick friends with the live retuning feature, detwelvulating my QS8, which has robust samples. Still a favorite for auditioning new scales.</li><li>tried to teach an ensemble (clarinet, bass, cellos, violin, kazoo) to play 72-equal using '''Helmholtz-Ellis-Wilson-Monzo''' notation. Disaster! The signs < and > were oft-confused, and I was really only interested in a small subset of the 72 notes -- more complexity than I needed.</li><li>tried to learn 31-tone fingerings for bassoon, after Johnny Reinhard. Relatively successful, though timbral unevenness between some notes. Hope to do more of it in the future. I welcome any '''31-tone bassoon''' compositions anyone wants to throw at me.</li><li>tried to teach an '''ensemble''' (violin, saws, bass, trombones, bassoon) to play '''in 31''', notated normally. it really came down to the attitude of the individuals, some of which were better than others. the main problem is a lack of pedagogical materials. i hope to generate some in my lifetime.</li><li>scratched that and went to '''bottle choir'''. much like handbells, the challenge all of a sudden was not in tuning at all but in lining up rhythms to make hocket melodies. highly successful and fun recommended! was toying with starting an ongoing bottle choir for awhile.</li><li>piece in '''8-equal''' (sesquitones!) for '''chamber ensemble''' (violins, cello, flute, oboe, clarinet, udderbot, slide trumpet, trombone, horn). hastily written and rehearsed; results inconclusive. slide instruments fared better than keyed, but the limits of difficulty were breached.</li><li>short sketch of '''string quartet''' in a simple 9-out-of-'''quartertones''' scale. not too shabbily read!</li><li>two Bb '''clarinets''', but with one tuned a '''sixth-tone''' (33¢) flat for a composite 24-out-of-36 scale. The clarinet is already not really in 12, and even less so when pulled out. Such a constraint on 36 would make any reasonable xenharmonicist complain, but I found a lot of nice 7-limit stuff as I wrote the piece. Recommended.</li><li>'''[[~~SeventeenTonePianoProject\|~~SeventeenTonePianoProject]]'''. I was really really happy with this, but again, it's a compromise of what an instrument natively designed for 17 could do. Hockets - a good problem to have! Also, got so busy being performer and organizer that I didn't manage to compose much of what I wanted.</li><li>'''[http://www.udderbot.com udderbot]''', a new slide bottle, played in any tuning imaginable. cheap and intuitive. like trombone, much depends on what you can hear. i'm working up a piece in 31 right now, and I hope to commission numerous microtonalists for '''solo''' pieces in the near future.</li><li>'''Autotuning''' via computers. I just purchased VoiceTweaker, an AU/VST that imports scala files and can even do a little harmonizing! I also recently built an autotuner in Kyma capable of ''up to 31'' notes per octave (octave repeating, for now), but the only attempt I've made at using it musically was the biggest disaster ever. Needs more work, is what it comes down to.</li></ol>		<ol><li>obtain a '''reed organ''' and retune the reeds. Scrape the tips to raise pitch; scrape base of reeds to lower. I retuned a low-end electric-motor organ to 3 octaves of harmonics 12-24 and called it "otonal organ". Good for JI, but hard to get exactly right. It's still not exactly right.</li><li>synthesizer (MR-Rack) with a user tuning table. I wrote a piece where the tuning was supposed to change between sections, so I rigged '''Max/MSP''' to send the appropriate sysex messages triggered by a pedal. Piece was for 3 live keyboards, but in performance I accidentally hit the pedal too many times and was stuck playing two sections in the wrong tuning - yuck!</li><li>when '''Scala''''s GUI version became available for Mac I made quick friends with the live retuning feature, detwelvulating my QS8, which has robust samples. Still a favorite for auditioning new scales.</li><li>tried to teach an ensemble (clarinet, bass, cellos, violin, kazoo) to play 72-equal using '''Helmholtz-Ellis-Wilson-Monzo''' notation. Disaster! The signs < and > were oft-confused, and I was really only interested in a small subset of the 72 notes -- more complexity than I needed.</li><li>tried to learn 31-tone fingerings for bassoon, after Johnny Reinhard. Relatively successful, though timbral unevenness between some notes. Hope to do more of it in the future. I welcome any '''31-tone bassoon''' compositions anyone wants to throw at me.</li><li>tried to teach an '''ensemble''' (violin, saws, bass, trombones, bassoon) to play '''in 31''', notated normally. it really came down to the attitude of the individuals, some of which were better than others. the main problem is a lack of pedagogical materials. i hope to generate some in my lifetime.</li><li>scratched that and went to '''bottle choir'''. much like handbells, the challenge all of a sudden was not in tuning at all but in lining up rhythms to make hocket melodies. highly successful and fun recommended! was toying with starting an ongoing bottle choir for awhile.</li><li>piece in '''8-equal''' (sesquitones!) for '''chamber ensemble''' (violins, cello, flute, oboe, clarinet, udderbot, slide trumpet, trombone, horn). hastily written and rehearsed; results inconclusive. slide instruments fared better than keyed, but the limits of difficulty were breached.</li><li>short sketch of '''string quartet''' in a simple 9-out-of-'''quartertones''' scale. not too shabbily read!</li><li>two Bb '''clarinets''', but with one tuned a '''sixth-tone''' (33¢) flat for a composite 24-out-of-36 scale. The clarinet is already not really in 12, and even less so when pulled out. Such a constraint on 36 would make any reasonable xenharmonicist complain, but I found a lot of nice 7-limit stuff as I wrote the piece. Recommended.</li><li>'''[[SeventeenTonePianoProject]]'''. I was really really happy with this, but again, it's a compromise of what an instrument natively designed for 17 could do. Hockets - a good problem to have! Also, got so busy being performer and organizer that I didn't manage to compose much of what I wanted.</li><li>'''[http://www.udderbot.com udderbot]''', a new slide bottle, played in any tuning imaginable. cheap and intuitive. like trombone, much depends on what you can hear. i'm working up a piece in 31 right now, and I hope to commission numerous microtonalists for '''solo''' pieces in the near future.</li><li>'''Autotuning''' via computers. I just purchased VoiceTweaker, an AU/VST that imports scala files and can even do a little harmonizing! I also recently built an autotuner in Kyma capable of ''up to 31'' notes per octave (octave repeating, for now), but the only attempt I've made at using it musically was the biggest disaster ever. Needs more work, is what it comes down to.</li></ol>

	===Late composers Barton has idolized===		=== Late composers Barton has idolized ===
	*[[James Tenney]]		* [[James Tenney]]
	* [[Harry Partch]]		* [[Harry Partch]]
	*[[Ivor Darreg]]		* [[Ivor Darreg]]
	*[[Mauricio Kagel]]		* [[Mauricio Kagel]]
	*[[Alvin Lucier]]		* [[Alvin Lucier]]
	*[[György Ligeti]]		* [[György Ligeti]]
	*[[Herbert Brün]]		* [[Herbert Brün]]
	* [[J. S. Bach]]		* [[J. S. Bach]]

			== External links ==
			* [https://jacobbarton.bandcamp.com/ Bandcamp profile]
			* [https://www.soundclick.com/artist/default.cfm?bandID=145852 SoundClick profile]
			* [https://soundcloud.com/metaclown SoundCloud profile] ([[Metaclown]], unofficial)

			{{DEFAULTSORT:Barton, Jacob}}
			[[Category:People]]
			[[Category:Composer]]
			[[Category:Instrument maker]]
			[[Category:Musician]]

Xenwolf: cleanup, lemma bold

2021-03-13T10:04:51Z

cleanup, lemma bold

← Older revision		Revision as of 10:04, 13 March 2021
Line 1:		Line 1:
	~~__FORCETOC__~~		'''Jacob A. Barton''' (b. 1985) (ASCAP) (he/e/em/is) is a multi-instrumentalist, designer, and composer whose work has focused xenharmonic praxis and the exploitation of tonal harmony and pop rhythms towards experimental mentality.

	Jacob A. Barton (b. 1985) (ASCAP) (he/e/em/is) is a multi-instrumentalist, designer, and composer whose work has focused xenharmonic praxis and the exploitation of tonal harmony and pop rhythms towards experimental mentality.

	== Multi-instrumentalist ==		== Multi-instrumentalist ==

Xenjacob: update, w.i.p.

2021-03-13T03:18:52Z

update, w.i.p.

@@ Line 1: / Line 1: @@
 __FORCETOC__
-===Jacob in 2011===
 [http://jacobbarton.net/ Jacob A. Barton] (b. 1985) decided in 2003 to make the rest of his music as microtonal as possible. Seeing the dearth of mere musical examples of many interesting tunings, he started a [http://soundclick.com/funwithxenharmonicity Soundclick page] to share his microtonal meddlings, for better or for worse. Concurrent with an encounter with the [http://designingasociety.net/ School for Designing a Society] in 2005, a series of fortunate events led to the invention of the [http://udderbot.wikispaces.com UDDERBOT], a microtonally capable slide woodwind instrument. Jacob is currently teaching at the School for Designing a Society, organizing a [http://oddmusicuc.wordpress.com/programs/xenharmonic-praxis-summer-camp/ Xenharmonic Praxis Summer Camp], and spreading the udderbot gospel. Jacob helped to start this wiki and has left several incomplete ideas lying around which you are free to build upon.
@@ Line 17: / Line 35: @@
 <ol><li>obtain a '''reed organ''' and retune the reeds. Scrape the tips to raise pitch; scrape base of reeds to lower. I retuned a low-end electric-motor organ to 3 octaves of harmonics 12-24 and called it "otonal organ". Good for JI, but hard to get exactly right. It's still not exactly right.</li><li>synthesizer (MR-Rack) with a user tuning table. I wrote a piece where the tuning was supposed to change between sections, so I rigged '''Max/MSP''' to send the appropriate sysex messages triggered by a pedal. Piece was for 3 live keyboards, but in performance I accidentally hit the pedal too many times and was stuck playing two sections in the wrong tuning - yuck!</li><li>when '''Scala''''s GUI version became available for Mac I made quick friends with the live retuning feature, detwelvulating my QS8, which has robust samples. Still a favorite for auditioning new scales.</li><li>tried to teach an ensemble (clarinet, bass, cellos, violin, kazoo) to play 72-equal using '''Helmholtz-Ellis-Wilson-Monzo''' notation. Disaster! The signs &lt; and &gt; were oft-confused, and I was really only interested in a small subset of the 72 notes -- more complexity than I needed.</li><li>tried to learn 31-tone fingerings for bassoon, after Johnny Reinhard. Relatively successful, though timbral unevenness between some notes. Hope to do more of it in the future. I welcome any '''31-tone bassoon''' compositions anyone wants to throw at me.</li><li>tried to teach an '''ensemble''' (violin, saws, bass, trombones, bassoon) to play '''in 31''', notated normally. it really came down to the attitude of the individuals, some of which were better than others. the main problem is a lack of pedagogical materials. i hope to generate some in my lifetime.</li><li>scratched that and went to '''bottle choir'''. much like handbells, the challenge all of a sudden was not in tuning at all but in lining up rhythms to make hocket melodies. highly successful and fun recommended! was toying with starting an ongoing bottle choir for awhile.</li><li>piece in '''8-equal''' (sesquitones!) for '''chamber ensemble''' (violins, cello, flute, oboe, clarinet, udderbot, slide trumpet, trombone, horn). hastily written and rehearsed; results inconclusive. slide instruments fared better than keyed, but the limits of difficulty were breached.</li><li>short sketch of '''string quartet''' in a simple 9-out-of-'''quartertones''' scale. not too shabbily read!</li><li>two Bb '''clarinets''', but with one tuned a '''sixth-tone''' (33¢) flat for a composite 24-out-of-36 scale. The clarinet is already not really in 12, and even less so when pulled out. Such a constraint on 36 would make any reasonable xenharmonicist complain, but I found a lot of nice 7-limit stuff as I wrote the piece. Recommended.</li><li>'''[[SeventeenTonePianoProject|SeventeenTonePianoProject]]'''. I was really really happy with this, but again, it's a compromise of what an instrument natively designed for 17 could do. Hockets - a good problem to have! Also, got so busy being performer and organizer that I didn't manage to compose much of what I wanted.</li><li>'''[http://www.udderbot.com udderbot]''', a new slide bottle, played in any tuning imaginable. cheap and intuitive. like trombone, much depends on what you can hear. i'm working up a piece in 31 right now, and I hope to commission numerous microtonalists for '''solo''' pieces in the near future.</li><li>'''Autotuning''' via computers. I just purchased VoiceTweaker, an AU/VST that imports scala files and can even do a little harmonizing! I also recently built an autotuner in Kyma capable of ''up to 31'' notes per octave (octave repeating, for now), but the only attempt I've made at using it musically was the biggest disaster ever. Needs more work, is what it comes down to.</li></ol>
-===Microtonalists &amp; experimentalists I have met===
+===Late composers Barton has idolized===
 *[[James Tenney]]
 * [[Harry Partch]]
-* [[Ivor Darreg]]
+*[[Ivor Darreg]]
-* [[Mauricio Kagel]]
+*[[Mauricio Kagel]]
-* [[Alvin Lucier]]
+*[[Alvin Lucier]]
-* [[György Ligeti]]
+*[[György Ligeti]]
-* [[Herbert Brün]]
+*[[Herbert Brün]]

Xenwolf: Xenwolf moved page JacobBarton to Jacob Barton: no need for WikiCase any more

2021-02-02T07:54:28Z

Xenwolf moved page JacobBarton to Jacob Barton: no need for WikiCase any more

← Older revision	Revision as of 07:54, 2 February 2021
(No difference)

Xenjacob: /* Microtonalists & experimental instrument builders I have met */ update & restructure

2019-02-03T14:29:47Z

Microtonalists & experimental instrument builders I have met: update & restructure

@@ Line 17: / Line 17: @@
 <ol><li>obtain a '''reed organ''' and retune the reeds. Scrape the tips to raise pitch; scrape base of reeds to lower. I retuned a low-end electric-motor organ to 3 octaves of harmonics 12-24 and called it "otonal organ". Good for JI, but hard to get exactly right. It's still not exactly right.</li><li>synthesizer (MR-Rack) with a user tuning table. I wrote a piece where the tuning was supposed to change between sections, so I rigged '''Max/MSP''' to send the appropriate sysex messages triggered by a pedal. Piece was for 3 live keyboards, but in performance I accidentally hit the pedal too many times and was stuck playing two sections in the wrong tuning - yuck!</li><li>when '''Scala''''s GUI version became available for Mac I made quick friends with the live retuning feature, detwelvulating my QS8, which has robust samples. Still a favorite for auditioning new scales.</li><li>tried to teach an ensemble (clarinet, bass, cellos, violin, kazoo) to play 72-equal using '''Helmholtz-Ellis-Wilson-Monzo''' notation. Disaster! The signs &lt; and &gt; were oft-confused, and I was really only interested in a small subset of the 72 notes -- more complexity than I needed.</li><li>tried to learn 31-tone fingerings for bassoon, after Johnny Reinhard. Relatively successful, though timbral unevenness between some notes. Hope to do more of it in the future. I welcome any '''31-tone bassoon''' compositions anyone wants to throw at me.</li><li>tried to teach an '''ensemble''' (violin, saws, bass, trombones, bassoon) to play '''in 31''', notated normally. it really came down to the attitude of the individuals, some of which were better than others. the main problem is a lack of pedagogical materials. i hope to generate some in my lifetime.</li><li>scratched that and went to '''bottle choir'''. much like handbells, the challenge all of a sudden was not in tuning at all but in lining up rhythms to make hocket melodies. highly successful and fun recommended! was toying with starting an ongoing bottle choir for awhile.</li><li>piece in '''8-equal''' (sesquitones!) for '''chamber ensemble''' (violins, cello, flute, oboe, clarinet, udderbot, slide trumpet, trombone, horn). hastily written and rehearsed; results inconclusive. slide instruments fared better than keyed, but the limits of difficulty were breached.</li><li>short sketch of '''string quartet''' in a simple 9-out-of-'''quartertones''' scale. not too shabbily read!</li><li>two Bb '''clarinets''', but with one tuned a '''sixth-tone''' (33¢) flat for a composite 24-out-of-36 scale. The clarinet is already not really in 12, and even less so when pulled out. Such a constraint on 36 would make any reasonable xenharmonicist complain, but I found a lot of nice 7-limit stuff as I wrote the piece. Recommended.</li><li>'''[[SeventeenTonePianoProject|SeventeenTonePianoProject]]'''. I was really really happy with this, but again, it's a compromise of what an instrument natively designed for 17 could do. Hockets - a good problem to have! Also, got so busy being performer and organizer that I didn't manage to compose much of what I wanted.</li><li>'''[http://www.udderbot.com udderbot]''', a new slide bottle, played in any tuning imaginable. cheap and intuitive. like trombone, much depends on what you can hear. i'm working up a piece in 31 right now, and I hope to commission numerous microtonalists for '''solo''' pieces in the near future.</li><li>'''Autotuning''' via computers. I just purchased VoiceTweaker, an AU/VST that imports scala files and can even do a little harmonizing! I also recently built an autotuner in Kyma capable of ''up to 31'' notes per octave (octave repeating, for now), but the only attempt I've made at using it musically was the biggest disaster ever. Needs more work, is what it comes down to.</li></ol>
-===Microtonalists &amp; experimental instrument builders I have met===
+===Microtonalists &amp; experimentalists I have met===
-''Yep, I'm collecting them like trading cards. Seriously, though, the people are consistently even more interesting than the music they make!''
+''Yep, I'm collecting them like trading cards. Seriously, though, microtonalists are consistently even more interesting than the music they make!''
+* School for Designing a Society 2005 -> [[Elizabeth Adams]], [[Mark Enslin]], The Nonsense Company ([[Rick Burkhardt]], Andy Gricevich, Ryan Higgins, [[Snow Leopard]]
-Elizabeth Adams, Chris Bailey, Easley Blackwood, Donald Bousted, Ian Dicke, Duo Contour, Jonathan Glasier, Kraig Grady, Andrew Aaron Heathwaite, Wim Hoogewerf, Aaron Andrew Hunt, Paul Kotheimer, Aaron Krister Johnson, Joel Mandelbaum, Brink McGoogy, Joe Monzo, Johnny Reinhard, Jose Antonio Martin Salinas, X.J. Scott, Dan Sedgwick, Dan Stearns, George Secor, Tommy Scheurich, Mark Stewart, Travis Weller, Erv Wilson, James Wyness.
+* [[SeventeenTonePianoProject]] series -> [[Ian Dicke]], [[Travis Weller]], [[Thomas Edwin Scheurich III]] (knew him from high school but this was his xen. awakening), [[Dan Sedgwick]]

Wikispaces>FREEZE at 00:00, 17 July 2018

2018-07-17T00:00:00Z

Show changes