New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Frippertronics with Keyboard, Circa 1980 (MP3)

The looping of musical segments that we take for granted today has many pre-digital precursors, key among them King Crimson founder Robert Fripp, whose homebrew Frippertonics instrument allowed him (and his listeners) to revel in the steady accrual, and dissolution, of layers of recorded sound.

The work Fripp did with that analog, tape-based tool, beginning in the 1970s, is almost entirely associated with the electric guitar. He’d use various techniques to limit the guitar’s attack — the pluck of a string or the strum of a chord — and thus let the guitar tone alone fill the recording, but it was nonetheless the guitar, his primary instrument, emitting the sound. After doing so, he’d then wail virtuosically atop the bed of ambient sound, but there was nothing any less virtuosic — only less showy — about the manner in which he layered those initial “background” pieces.

Up recently at the Fripp website,, is a recording in which Fripp applies the looping to what is, reportedly, a Roland keyboard (MP3). It provides an opportunity to hear the tape loop in a different setting than usual — same sing-song effect, same harmonious sway, but different tonal flavor:

[audio:|titles=”Keyboard Loop”|artists=Robert Fripp]

Here’s a diagram of how Frippertronics functions:

Writes Alex Mundy, a archivist, of the Roland track:

Found amidst a clutch of unmarked cassettes by the intrepid Mister Stormy, here we have Robert with his trusty Roland keyboard trying out some ideas. Although there’s no indication of a date or location here, what we can be sure of is that the chords and lines being deployed occupy the same luscious melodic richness as the gorgeous title track of Evening Star. Can’t you just hear a yearning guitar solo going over the top of this?

The entry puts the date at January 1, 1980, but Mundy’s note says there’s no certainty regarding when it was taped. The track is currently available for free download, but these free downloads are teasers for the site (“hot tickles” is the term), after which they go behind a registration firewall. For future reference, here is the file’s permanent URL:

The above image is from Erik Tamm’s book Brian Eno: His Music and the Vertical Color of Sound (Da Capo Press, 1995), via an essay by Rob Doyle at

By Marc Weidenbaum

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  • Marc Weidenbaum founded the website in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

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