First set at Tilburg, NL Nov. 16, 2005

The HUB is just back from a 6 day tour. We played the first night at Club Paradox in Tilburg, NL
a review is at: http://tinyurl.com/aopphi
from the bad translation of the Dutch via robot ubersetzer:
" Yes, itself has them it, however, to their sense. But is taken into account the auditor little. The muzikanten start acting with a scale to sounds which still most do think of communication systems between flying dishes, served by innumerable aliens. And that remains this way. Improvised, without only grip and without aim."

Don't think he liked it. Thank God for the "Lexicon of Musical Invectives" it gives me hope.

PERRY MASON IN EAST GERMANY (5'13") _1988

From the firstHUB CD
composer: John Bischoff
performers: John Bischoff, Tim Perkis, Mark Trayle
recorded at Fylkingen, Stockholm 9/27/88 engineer: Paul Pignon

Each of the six players runs a program of his own design which constitutes a self sustaining musical process. Each program is configured so that it can send three changing variables important to its operation out to the Hub and also to receive three variables from other players. Each player reads the variables put out by three different performers, and sends out for use by three different performers as well. This relationship of mutual influence results in a network structure that often yields a special kind of musical coherence; the persistent diversity of the parts is complemented by moments of change that appear to propagate from one part to the next. These linked motions can, in turn, affect global changes in the music, giving the music structure beyond any individual's planning.

Whackers from first HUB CD

1988 - CSUHayward Designed and built "whackers" 64 channel percussion
robot 1 Amp per solenoid channel with Robert Marsanyi HMSL based
instruments remaps midi note events to solenoid note num. = whacker #
vel=period and intensity of hit The HUB CD on artifact cut 5 "whackers"

Notes from CD:
The whackers are a number of individual solenoids or relays that have the capability of whacking or (?JH)string objects in their proximity when told to do so by a computer. In this case they were arranged next to an entire gallery, the San Francisco Art Commission Gallery, full of large sound sculpture objects designed by Tom Nunn and Bob B. Hobbs. These sculptural objects were things such as large suspended sheets of steel with brass rods welded to them, a piano harp, a suspended automobile fuel tank, a circular sheet of steel suspended on balloons, and others. The development of the whackers grew out of the notion that some visceral aspect of the act of making and listening to music is inherently missing when the loudspeaker is used exclusively. Rhythm and amplitude to a certain extent were controlled by Tim's manipulation of real time parameters and partly by the characteristics of the objects themselves. In the mean time as"Whackmeister" Perkis madly twiddled knobs, I ran around trying to make sure my little whackers were hitting their mark.