Jump to content


  • Content Count

  • Joined

  • Last visited

About CIIIGoff

  • Rank
    Advanced Member

Profile Information

  • Gender
  • Location
    Kansas, USA
  • Interests
    Originality, Physical Universe, Imagination, Things Beyond Human Comprehension, Kumquats, Maple Syrup

Recent Profile Visitors

4,993 profile views
  1. Salamanders After Dinner by -Ing -Ing = Charles Rice Goff III & Steve Schaer The evolution of the Taped Rugs audio project called "-Ing" took a big step toward its eventual full bloom in the summer of 1982. Up until then, -Ing's Frippertronics-style audio loop recording set-up relied on the interactions between a Pioneer RT-707 reel-to-reel tape deck and a Sony TC-630. The different ways that each machine handled inputs and outputs required that the Pioneer serve as the recording deck in the loop set-up, while the Sony served as the playback deck. (For readers unfamiliar with Frippertronics, a rudimentary explanation is available here: https://en.wikipedia.org/wiki/Frippertronics) Goff and Schaer often would alter the speeds of one or both of the tape decks during recording sessions to produce unique sounds. They accomplished this not only by flipping switches while the decks spun around, but also by physically grabbing, tapping, and twisting the reels of tape. Such physical abuse added to the unnatural wear and tear that the decks suffered from running their motors in tandem to accommodate -Ing's Frippertronics set-up. By late 1981, the Sony TC-630 had begun to randomly change speeds on its own during operation. This, in turn, regularly broke up rhythms and intuitive elements of -Ing's improvisations, causing Goff and Schaer considerable frustration. By spring, 1982, the motors in the worn-down Sony could no longer keep up with those in the Pioneer at all. So in early summer, Goff and Schaer purchased an identical Pioneer to mate with their own RT-707. These Pioneer decks were hearty, well-built, machines that could take a lot of abuse. Over the next ten years, they not only served to generate all of –Ing's audio loop recordings, but were also used by the Taped Rugs acts: Disism, Herd Of The Ether Space, and Goff himself, to create hundreds of audio loops for studio projects and live performances. -Ing's new double RT-707 set-up provided Goff and Schaer with the ability to create uninterrupted loops of sound with very regular timing. Goff and Schaer were then, in turn, able to focus their attention more on making aberrant sounds, rhythms, and washes with their musical instruments, and less on dealing with the quirky mechanics of their recording process. "Salamanders After Dinner" was recorded in August, 1982, at one of the first sessions held after -Ing had upgraded its recording system. It is an entire, uninterrupted, 43-minute long improvisation, which intuitively evolves from mood to mood through a wide variety of sonic atmospheres. It highlights Schaer's uniquely percussive, as well as psychedelic, approaches to synthesizer playing. Goff's electronic guitar playing -- embellished by slides, vibrators, playing cards, and foot pedals -- is on full display as well. Staying true to -Ing's roots, both the recording's beginning and ending feature some vicious tape manipulation. In these bookend passages, however, the reels were tugged and slapped with only the purest "artistic" intentions, entirely unprovoked by any funky recording equipment glitches. "Salamanders After Dinner" is Volume Two of the "Unveiled -INGredients" series of audio recordings. Schaer and Goff recorded many hours of tape loop experiments as "-Ing" between 1980 and 1984. Most of the reel-to-reel tapes from those sessions have long since disappeared. Steve Schaer himself sadly left behind the world of the living in 1998 as well. However, in 2019, Steve's widow, Dee Ann, discovered some cassette copies of a few of the original -Ing reels, which Schaer had recorded back in the 1980s. She passed these off to Robert Silverman (one of the original -Ing artists represented on -Ing's first public release), and he forwarded them to Goff in the spring of 2020. The "Unveiled -INGredients" series was created from these cassette recordings. Readers interested in future developments of the Unveiled -INGredients series should visit this web location in the coming months: http://tapedrugs.com/INGUnveiledINGredients.html Copyright 1982 and 2020 by Taped Rugs Productions www.tapedrugs.com
  2. My compliments to Mr. Hertz for curating such a varied collection of sonic experimentation. Clearly the influences of Sir Schaeffer are healthy and growing today. A big Bravo to all the talented artists involved in this extraordinary tribute.
  3. Swinging From Loose Hinges ...an homage to the Doors by Charles Rice Goff III All performances, mixings, and production by Charles Rice Goff III, except where noted. This collection of songs is a not-for-profit, art-for-art's-sake project. No rights are claimed to the original Doors songs. These recordings were produced between December, 2018, and June, 2019. From The Artist: Last October, as I embarked on my 60th trip around the sun, I began conceiving a collection of interpretations of music by the Doors. Misters Densmore, Krieger, Manzarek, and Morrison had authored the very first album of contemporary music that I ever possessed -- a powerful dose for an-eight-year-old audio cadet. That first Doors album has left a life-long impression on me, and, as Taped Rugs Productions is about to celebrate its own 40-Year anniversary, I felt it was time to acknowledge the Doors' influences, which have revealed themselves over and over in my artistic endeavors. Listeners who are expecting to hear accurately reproduced "cover" songs will be disappointed by the contents of this album. The interpretations presented here showcase how the Doors' approaches to composition, performance, experimentation, and expression, affect me as an artist, right here in the early 21st Century. While these recordings all contain elements of their antecedents, they each have a life of their own. I encourage one and all to limit your expectations and keep an open mind as you explore this collection. Dedication: I would like to dedicate this album to my sister, Charlee, who so long ago provided her own copy of the first Doors album to me for repeated listening, and who, after I nearly wore that record out, purchased a brand new copy for me, which I still possess as of this writing. I also dedicate this album to Carmelita The Kitty, who shared a close, spiritual-level friendship with me over the course of the last 14 years, and who left the world of the living during the months that this homage was being recorded. Special thanks also go out to my wife, Karen, who provided me with not only the Doors songbook which helped guide the course of this project, but who also provided me with oodles of unselfish encouragement throughout this album's production. The Following Tools Were Used In The Creation Of This Collection: "The Doors Complete": a songbook produced by Warner Brothers in 1983 "The Lost Writings Of Jim Morrison": a book of poems, Villard Books, NY, 1989 Computers: Windows XP, Windows 10 Software: Cool Edit Pro II, Audacity, Midisoft MIDI Scorewriter, Windows Media Player, Roxio 2011 Sound Recorder, Several Plug-In Audio Sound Effects Ovation Celebrity Electro-Acoustic Guitar (1990's, big belly, model) Fender "Reflector" Stratocaster Electric Guitar (1990's Squire Model) Aklot Electro-Acoustic Soprano Ukulele Korg R3 Vocoder/Synthesizer Modified Casio KA 20 Digital Keyboard Boss RC 20X Loop Station Loop Duplicator Various Drums, Glockenspiels, Xylophones, Bells, Shakers, Sticks, Brushes Various Analog Foot Pedal Sound Effects Various Original And Prerecorded Sound Samples A cheap, barebones, 4-channel, Radio Shack Mixer My Voice Detailed documentation of the creation of the following recordings was published at the online Electronic Cottage Website and can be accessed both in the PDF files included in this post and via the following internet links: "Moonlight Drive" PDF: https://archive.org/download/SwingingFromLooseHinges/05DocumentationMoonlightDrive.pdf Electronic Cottage: https://www.electroniccottage.org/swami-loopynanda/moonlight-drive-c-goff-iii-takes-on-the-doors-with-unique-technique "The Unknown Soldier" PDF: https://archive.org/download/SwingingFromLooseHinges/06DocumentationTheUnknownSoldier.pdf Electronic Cottage: https://www.electroniccottage.org/swami-loopynanda/remaking-the-doors-unknown-soldier-sentiments-shared-and-echoed "L'America" PDF: https://archive.org/download/SwingingFromLooseHinges/07DocumentationLAmerica.pdf Electronic Cottage: https://www.electroniccottage.org/swami-loopynanda/a-trip-down-to-the-doors-lamerica Some Specifics: 1) "Moonlight Drive" opens with an edit of a field recording entitled: "Dog Island Tide Coming In," a personally recorded cassette, acquired at a used book sale. The introduction of the song also features a Jim Morrison poem, sung over an original sequence of descending chords and an orchestrated chiming of music boxes. 2) "My Wild Love" features a short vocal bit from Carmelita (The Kitty) Goff, who passed away during the days that this very song was in production. Carmelita's vocals have embellished several Taped Rugs productions since 2006, and his many contributions have earned him great respect as a member of the Taped Rugs family of artists. 3) "Wishful Sinful" features bits of other songs from its Doors album of origin: "The Soft Parade." The collaged vocals are made up of edits from the Biblical Book Of "Revelations." A microcassette recorder was used to produce the repeated bit at the end of the song. 4) "The Crystal Ship" features edits of Jim Morrison breathing and reciting unaccompanied lines from his original poetry, obtained from recordings which were never officially released by the Doors as a group. Back in 1994, Goff had recorded a minimalist version of "The Crystal Ship" for his "Under The Influences, Volume One" cassette album. 5) The lyrics of "Aztec Wall Of Vision" are excerpted from Jim Morrison poems that were never set to music by the Doors. There is a Taped Rugs connection with this piece -- some of these lyrics had been incorporated into a composition entitled "Exorcism" by the group: Herd Of The Ether Space, for their 1991 "Noises Of War" performance and subsequent cassette releases. 6) All the many string instrument parts of "When The Music's Over" were recorded with an Aklot Ukulele, plugged through a Korg R3 Vocoder/Synthesizer. No guitars appear on this particular recording. Produced By Taped Rugs Productions, 2019 www.tapedrugs.com NO CLAIMS ARE MADE TO THE ORIGINAL DOORS SONGS PRESENTED HERE. THIS IS A NON - PROFIT ART EXPERIMENT WITH NO COMMERCIAL INTENTS.
  4. Just to understand correctly... this lovely invitation says: share their new or previously composed dedication and email your unpublished track so, my question here -- must the recording be "unpublished" ? Is a "previously composed" and previously published recording ok? Thanks for producing this project, Jack!
  5. This week's Deprogramming Center includes new works from several maverick electronic music experimenters, each possessing extensive resumes. The show also features a piece from Encyclotronic mastermind, Jack Hertz. Tune in live on KOWS, this Saturday, December 8th, 12:00 AM USA PACIFIC STANDARD TIME (Friday Midnight) here: KOWS, Broadcasting From Occidental, California Or, anytime for the next month here (this show will disappear in a few weeks): Deprogramming Center #78
  6. Jack Hertz recordings on this week's Deprogramming Center radio broadcast!.  Distracted by family feline health concerns, I missed posting an announcement for this program here for all of you late night radio listeners in California's wine country.  But you can still hear this show (for the next couple of weeks at least) at the link below.  A little background on our Encyclotronic host and some spacy (literally) music for your entertainment and edification.  This show also features long term recording artist and another spacy composer, Phil Klampe.


    1. Jack Hertz

      Jack Hertz

      FYI, for all you radio DJs, you also have a comments section on your show calendar page that you can, and should, make regular updates to. Might be more accessible to people who look at the calendar, if that's preferred. (Y)


    2. Ian Craig

      Ian Craig

      Nice post CIIIGoff, I'm listening now and thinking about the Krell music thing. Jack Hertz In order to create anything Krell related to the film is a difficult task. At first I was thinking of a back story but as they had all died long before the time setting of the film it becomes much easier to write Krell music that is not related to it at all, though the environment, both natural and psychic, is consistent to the film's present and past tenses. I have stuff that came from a patch I created for the MicroKorg about 5 or 6 years ago and something I came up with in software during the last couple of months (though finding that in the midst of backups from multiple computer changes will be an interesting task) that are both more or less focused on this topic already and as I tend to write short things I should be able to merge those with something new conceptually totalling less than 5 minutes. My one question is when you say 'mastered' what does that mean in terms of -dB, which I understand and LUFS etc which I don't ? 

      ... Great programme. 'forM' was a wonderful find :)

    3. CIIIGoff


      Ian -- thanks much for tuning in, AND even more for providing the positive feedback!  Good luck creating your Krell salad too.

  7. Rare Excerpts From K. Schulze Recordings will be broadcast this Friday at KOWS in California.  The show is The Deprogramming Center.  The recordings were part of a huge collection which once belonged to the late Doug Walker of the legendary Space Rock group:  Alien Planetscapes.  They were made available by Jerry Kranitz of Aural Innovations and edited by KOWS DJ Swami Loopynanda. 

    You can hear the show live on KOWS, this Saturday, July 21st, 12:00 AM USA PACIFIC DAYLIGHT TIME (Friday Midnight) here:


    Or, anytime for the next month here (this show will disappear in a couple of weeks):

    Deprogramming Center #69


    1. Jack Hertz

      Jack Hertz

      WOW! Will have to tune for that. I am a HUGE fan of Klaus Schulze. 

    2. Jack Hertz

      Jack Hertz

      BTW, these kinds of posts will get more notice if you put them in the Calendar.

      The status updates are not show to everyone or archived.

  8. A Visit To The Raymond Scott Sound Archive

    There exists at the University Of Missouri in Kansas City a huge research library of sound recordings, called the "Marr Sound Archive."  My wife, Karen, and I took a little trip there on Monday, June 4, to listen to a few rare tapes made by the legendary Raymond Scott.  We had a unique and very pleasant experience.

    The Marr Archive houses copies of millions of records, cylinders, tapes, CDs, digital audio files -- all sizes, shapes, lengths, etc. -- all types of artists from all over the world.  There are several "special" collections there as well, including the most extensive collection of Raymond Scott recordings anywhere.  The Scott collection contains not only commercially-released productions, but lots and lots of one-of-a-kind items recorded on lathe cut lacquer disks and reel to reel tapes -- radio shows, practice sessions, electronic sound experiments, etc.

    Raymond Scott  was a genius musician and arranger, and was also the inventor of some of the earliest electronic synthesizers.  His work influenced artists all over the world from the 1930's to the 1980's, and continues to do so today.  His jazz and orchestral recordings are quirky and inventive; some have become permanently embedded in the public consciousness due to Warner Brothers purchasing and adapting them as soundtracks for Looney Toons.  In the 1940's, Scott started creating all sorts of electronic instruments and playing around with recording technology, producing sounds that human beings had never heard (nor imagined) before.  For more extensive background on Scott, go here:

    Official Raymond Scott Website

    The Marr Archive is a research library, and the staff is very mindful of copyrights. Appointments for listening must be arranged in advance, and listening is only allowed in-house (no internet audio files are available).  For the sake of preserving rare recordings, guests don't get to handle original materials and only get to listen to digitized audio.   Many of the Scott recordings at the library have been digitized, but some haven't, and if you want to hear something that isn't digitized, you are obliged to pay $70/hour for a technician to digitize it for you.  To offset all of these rules, the staff at the archive is very helpful and welcoming to guests, which makes a trip to the library a fun and easy experience (at least it was for us).   For more information about the Raymond Scott collection, go here: 

    Marr Archive Raymond Scott Collection 

    Karen and I arranged to hear four recordings while we were there -- about 1 1/2 hours of material.   The library specialist with whom I arranged our visit, Andrew Hansbrough, had prepared a computer terminal with the materials I requested, but he went well beyond that in welcoming us to the Marr Archive.  He gave us a personal tour of the entire place.  This included demonstrations of some very ancient sound equipment and of the GIANT robot system that retrieves huge palettes of recordings from a vault that extends up several floors into a huge dark void.  Among other unique items, he showed us some 20 inch disks made of lacquer on glass during the 1940's (the USA needed all its metal for the war effort back then).   Really nice guy!

    The recordings that Karen and I heard included tapes of experiments made with various versions of Scott's "Electronium" and one tape of advertisement out takes from 1960.  None of this stuff has ever been made available to the general public outside of the Marr Archive.  The electronium materials were as engaging as any electronic music I've ever heard, ranging in form from rhythmic sounds, to lovely washes, to complete dissonant wildness.  The 1960 adverts we heard were obviously being arranged on the spot with some very talented musicians -- the same products (and verbiage) being presented and re-presented in all sorts of genres and styles to determine how best to sell them.

    Special thanks to Encyclotronic's Jack Hertz for placing the Raymond Scott Sound Archive into my awareness several months ago -- this is truly something that all Kansas City musicians and recording artists should know about and visit!





    1. Jack Hertz

      Jack Hertz

      Wowie! I am so glad you managed to make out there. What an amazing thing. I am going to have to visit one of these days. Really and truly, I will. 

      If you liked that. Maybe you can make it to the Festival in September?


  9. CIIIGoff

    Jack Hertz Planet Red Live

    OOO... Neat-o! Break a Martian leg and have fun; I'll try to toon in -- just wondering about your promo sign though -- is "Stanta Cruz" that cool boardwalk town on the coast of Amazonis Planitia?
  10. Mr. Hertz -- will be attending the M Fest? If so, will you be making a report(z) to the readers here? This piece of equipment is appealing; I love the Micromoog-ish presentation and the pretty colors -- if only you could get all the Encyclotronic members to chip in a little $ and hold a raffle... ah, there I am dreaming again...
  11. On February 4, 2017, Michael LaGrega and C. Goff III got together at LaGrega's studio in Leawood, Kansas, to record some percussion improvisations. They planned to refine these recordings into edits akin to sonic skeletal supports, on which musical accompaniments could be hung at a later date. The battery of instrumentation used in this session included a wide variety of percussion instruments and non-instruments, some synthesized percussive sound generators, and a few electronic sound modifiers. Of all the recordings produced that day, only the one offered here possessed qualities that distinguished it as a complete work that could stand on its own. An edit of this piece was provided to Scott Raymond in June, 2017, for airplay on WVKR in Fishkill, New York. Goff produced the version presented here in April, 2018. Is this Fourth World music? Or perhaps Fifth World music? Only the listener will know... View full album
  12. On February 4, 2017, Michael LaGrega and C. Goff III got together at LaGrega's studio in Leawood, Kansas, to record some percussion improvisations. They planned to refine these recordings into edits akin to sonic skeletal supports, on which musical accompaniments could be hung at a later date. The battery of instrumentation used in this session included a wide variety of percussion instruments and non-instruments, some synthesized percussive sound generators, and a few electronic sound modifiers. Of all the recordings produced that day, only the one offered here possessed qualities that distinguished it as a complete work that could stand on its own. An edit of this piece was provided to Scott Raymond in June, 2017, for airplay on WVKR in Fishkill, New York. Goff produced the version presented here in April, 2018. Is this Fourth World music? Or perhaps Fifth World music? Only the listener will know...
  13. Total non sequitur here... Here I am in a post-oral-surgery haze, reading today's Jack H. posts... This is what I saw when I read this one: Special Morphine Addictive Synthesizer. Made me think, yeah, back to the 1970's we go go go! Now it's back to reality; I know it's around here somewhere...
  14. Ha! I really don't have much GOOD advice regarding your boxes, cabinets, wallets, shelves, etc. The sad facts are: 1) Whatever sort of wallets, sleeves, disk holders I have gotten fond of for durability, thickness, ease of including some sort of standard-sized paper insert, etc.... they seem to only be manufactured the same exact way by the same manufacturer for a couple of years -- so I got disks stuffed into all sorts of sleeves now -- top loading, side loading, two sided, one sided, flimsy, sturdy, different colors, you name it... The same is true for "wallet" designs -- I got lots of different sizes, shapes, capacities. A problem with all this variety is finding a storage place where they all can fit together and can be accessed with relative ease. And sadly, the one sort of storage thing that HAS survived over all the years is the absolutely crappiest of all -- the jewel case. The guy who designed this thing should be punished -- they break, crack, don't open well, are really a pain to add album art to, often the album art is ruined because it doesn't fit properly into the little niches, and they are way too thick compared to the disks themselves (so they take up a whole lot of space when stored). How this piece of dung design has remained popular for over 30 years is a true miracle of marketing power, because it's an awful example of engineering... 2) And no matter what I've tried to do with various organizing schemes, there's always a ton of exceptions. Put all the albums I've done with Person A in one zone, put the albums with Person B in another, -- then what about the ones that feature both Person A and Person B? Put all the albums with one recording group together, let's say Herd Of The Ether Space -- there's a lot of these -- organize them by year -- but some have been remastered, so whenever I make a new version, must I move some disks out of their original wallets to make room for the remastered disks to be stored with the originals? or should I put all the remastered albums together in a separate wallet? Do you remember where you put those remastered ones? Sometimes it's a real treasure hunt around here. So you see, I'm constantly challenged regarding organizing my recordings. I muddle through as best I can, but I have yet to find a true solution to this puzzle. I encourage anyone with some good advice on this matter to share it, PLEASE! Again, Good Luck Jack
  15. Yes, lots of space, lots of time, is it worth it? When I moved to KS from CA back in 96, I left nearly every reel-to-reel tape (hundreds) and my reel-to-reel recorders with my CA collaborators -- big mistake... One died, sadly, and I don't know what happened to his collection. Another sold his set at a flea market... Sheesh... Anyway, I've still got many large boxes full of cassettes, including tapes with most of the raw materials from which albums were hatched. I still go back and find hidden gems in these, so YES, this is worth it. As for digital recordings, I do have disks with some raw materials on them, but most of that stuff now gets deleted once master edits are created from them. I have made about 300 albums over the years. All the master files, including cover art, out takes, etc., are stored on external hard drives and on DVDs (both places for each item). The albums themselves are also all backed up on CDRs. Same is true for videos and photographs/graphics and literature (I do a lot of types of art). Every year I go through my computer to make disk copies of everything I did over the previous 12 months or so. I'm actually working on this year's collection right now. It usually takes several hours of several days to complete. Also, most of my recordings and videos are available on the internet at archive.org in some form, so if the tornado hits my house, that's another safeguard for preserving my work in some way. I figure of all the places on the internet, the archive has been around the longest and seems like the best that the net offers in terms of longevity (it's also free to use, YEAH!). Yes, all the disks and tapes take up space, and sometimes I get confused about where things are, but I've got peace of mind about all this. I'm guessing that all the hard copies will be trashed after my passing, and some day the internet archive will become obsolete -- but I also know that in the big picture, the sun's gonna blow up like a balloon and swallow the earth one day, and I'm guessing the rest of the universe might be thinking "good riddance" when that happens. Good luck with your archiving! I hope whatever solution you come up with gives you peace of mind and leaves a little space in your house for you to live in too...
  • Create New...