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AUDIO
Continued from Page 4
"You don't have to major in it
to learn about it," said Quadrangle
Studios General Manager Mike
LaGuardia, a sophomore. He was
trained to use the studio by other
Co-op members and taking the tech
seminars. "Now I'm actually even
planning on making this a career
for my life."
LaGuardia and the Co-op's other
experienced engineers are currently

recording songs by 12 local bands
for what they have dubbed their
Album Project.
"One of the main ideas of the
Album Project is to show off what
the studio can do, what our
engineers can do, what the Co-op
can do, and to show off local music
in Ann Arbor and to show that the
Ann Arbor music scene isn't dead
after all. It's really a statement,"
LaGuardia said. The project is not
their first: disks by Surreal Estate,
the Civilian Fun Group, and It's
Raining have all been recorded in
the East Quad facilities.

Eclipse Jazz, the other training
ground, is the older student or -
ganization on campus. It was
founded in 1975 by students who
wanted to bring jazz to Ann Arbor,
but also has been a training ground
in the field of sound engineering for
the last ten years. Except for last
term, the group has hired a
professional engineer to teach ten
two-hour classes every semester.
Over the years Eclipse has put
about 300 to 400 people through
the sound engineering course.
"A good percentage have gone
on to get paying jobs," said
Technical director Dan Pettit.

"Some are on the road now making
good careers."
Students who complete the
course can work up to engineering
live kperformances at the various
venues on campus. Pettit says the
class covers "every aspect of live
sound from different microphones
to different speakers to how cords
are built and how they conduct the
signal."
This semester's class is taught
be Steve Fisher, who has worked
with Peter Frampton, Al Jarreau,
Lionel Richie, and John Cougar
Mellencamp. M


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DISCS
Continued from Page 4
artists to get heard. You can't get a
lot of independent or underground
music on CDs," Gibson said.
Many students have found a
solution to the high cost of
compact discs at Wazoo Records,
which stocks used CDs. Sales are
"really good," according to Manager
John Kerr, but he adds that they
appeal to a different market.
"There's a different crowd for them
than records - people more into
high tech."
"It's another toy, this craving for
materialism," said Tom Huizenga, a
Wazoo employee. "Some of the
younger guys who generally would
not buy a classical record buy
(classical) CDs because it's
supposed to sound so great."
Wazoo customers are able to
trade in their compact discs as well
as buy them. "A lot of people come
in, bring in a disc, and trade it for
one of ours for $2. The good ones
go the same day we put them out,"
Kerr said.
Students say that the high
quality of compact discs makes
them worth the price - and worth
more space in their music
collections.
"I'm very sparing in buying
them. I've cut back on records and
buy CDs that I really want. It's
definitely worth it. They sound
great, they're easy to use, and
there's no distortion," said Randy
Sokol, a junior in the Business
School.
"I sell records when I buy CDs,
which is painful at first to break up
a collection," said Wazoo customer
John Hilgart. "I've spent $350 on
CDs in eight months by
rearranging my budget. I buy many
fewer records."
The audio industry is optimistic
about compact discs, noting that
CD players are coming into
common usage at radio stations
There are even CD jukeboxes.
But customers' main complaint
continues to be price and avail -
ability. Neither are likely to be
assuaged until more domestic plants
open and there are cheaper means of
production, according to industry
representatives. Critics charge that
prices are artificially inflated
because of demand.
The big news right now (in
addition to the imminent CD
release of the Beatles collection) is
that Teldec Schallplatten GmbH,
manufacturer of the Direct Metal
Mastering technology for LPs, has
announced plans for a similar
process for the production of CD
masters. They say the new system
incurs lower investment and
production costs, and thus lower
prices for consumers. But the
process is still in testing, as is the
potentially better digital audio tape.

INTERVIEW
Continued from Page 10
D: He's got a reputation as a really
nice guy.
B: Oh yeah. He's got wisdom and
he shares it. He tells me to do so
and so and so and so and I'd watch
him. He's heavy.
D : Can you cite any great
inspiration or turning point in your
career?
B: It's happening now and it
continues to happen. When I left
Detroit in 1959, Louis Hayes
recommended me to Horace Silver
to take his place. That was a real
turning point. And just living in an
environment with all these great
musicians, everyday was... man, it
was like another time and another
place. It was very heavy. So, now I
reflect on those things and use this
wisdom on a current basis, through
my music.
D: Buddy Guy once said that he
wishes that it were 1967 forever.
Do you have any similar
sentiments to any time?
B: Naw, man. I know how good
those times were but I'm still
looking for good times. You
understand? It's up to me to deal
with that. The world is not waiting
for me. No, no. It's up to me to
feel good and to project that
through my music. That's what I
want to do. My political bag is
underwritten. That's just me.
Basically, I just want to make
people feel good with my music.
I've been to Poland. Don't speak
the language but the people love
the music and they dig me for that.
D: You've played a lot of different
jazz styles. How would you
describe what you do now with the
Artistic Truth?

B: It's creative heritage music
which encompasses all music. I try
to play different styles. I've got a
dixieland type of thing, some Latin
things...
D: So you pick up things wherever
you hear them and like them?
B: Sure, we all do and you're
influenced by them whether you
realize it or not.
D: How often do you play with
The Artistic Truth?
B: Well, it's an off and on thing. I
was doing a lot with the percussion
choir but I will be doing both
together, which hasn't happened
since 1980.
D: What is the Aboriginal Choir?
B: It's a unit made up of 17 to 20
percussionists. It's like a big band,
only we're dealing with just
percussion. Everything is
'synchropated,' it's synchronated.
Everything is in place. We ain't
jamming, in other words, and we
hit grooves, pockets. The concept
comes out of Max Roach's
"M'Boom re: percussion."
D: Jazz is often called "the greatest
American art form."
B: It is. And the only.
D: Do you feel that the music's
gotten a fair shake?
B: No it hasn't. Not in this
country. It's more respected in
Japan and Europe than it is here.
There, people know who we are.
They got the whole thing down.
D: That seems ironic since it is
such an American form. Why do
you think that is?
B: Well, I'm American too, but...
The music was an expression of
black influences and experiences in
this country.
D: So, you're basically saying one
reason is racism.
B: Right. Look, up until the 50's
there weren't any black people in
baseball. You dig? But eventually

they had to move the music
downtown because it was making a
stir. And it didn't come from record
companies hyping the thing up.
They were just blowing, just
creating on such a level and it was a
spiritual level. It had to be to come
across like that. These men
travelled the world over and over,
thousands of times. And people
recognize them. You come here and
nobody knows who you are.
D: A lot of jazz greats moved to
Japan. Did you ever consider that?
B: No, I'm happy to be an
American. Look,wherever I go I'll
still be who I am. I'm gonna be
who I am and I don't care if I'm on
Mars. I like to visit places and hang
out, but hey, I'm comfortable and
I'm doing what I want to do. So, I
can't complain. It's more than most
people can say.
D: Are you looking forward to
Depot Town?
B: Definitely, oh yeah. That's a
very nice place. It should be a lot of
fun. e
Ube
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C~z*6ijied

LOGIE
Continued from Page 10
index and pinky fingers rhyth-
mically.
Tipper Gore seems to think that
if I listen to this music for too
long, I will become a sexist, lust-
crazed, Satan-worshipping, heroin-
injecting, suicidal axe-murderer, but
so far, I think I'm doing okay. I'm
in the clear on everything, except
maybe the lust, but I really don't
think that's Ronnie James Dio's
fault. In fact, the most murderous
thoughts I'll confess to are the-
direct result of my attempting to
meditate using the words "Tipper
Gore" as a mantra. Don't try that
one out yourselves, kids, I've been
there and it just isn't worth it.

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