Reviews of restored numbers

[Greg]

XY-RGB content has finally been found in three shows. It turns out the moon show has X and inverted X, not Y. Printing error I guess. I was premature in a recent post to judge Visions. The XY-RGB track from what I've watched so far is 3D and impressive. It's a new thing in these shows to see whites and pinks.

Of course the current 6B emulator system can play up to four XY-RGB tracks simultaneously. Photos 5 through 8 show the XY-RGB tracks of Visions and Inside at the same time.

[laserist]

The 6B had two image busses so it could do variations of one or two images on four scanners in rygb. (Yes the projector technology evolved over time - unfortunately I haven't seen any hint that the underlying philosophical concept of what we were trying to do evolved with the technology. Technology is cool, it fun to come up with new stuff. Integrating the new stuff with the old stuff might best be done by completely changing the paradigm - that didn't happen. Mostly the new stuff was just wired in wherever.) Laserium began before before it was economically possible to automate an entire show, and we embraced the live aspect. It set us apart to the point that some people who did canned shows claimed they were live. One problem with highly choreographed automated shows using representational vector art is it really doesn't leave anything for the laserist to do except screw up the vector art story line. I'm not saying someone could never do a great "highly choreographed automated show using representational vector art", but I (being the ancient curmudgeon I've become) don't think that show should be called Laserium.

Orson Wells once said the lack of constraints is the death of art.

[ronhip]

Another aspect of live vs. canned was (I believe) licensing the music is much more expensive for a recorded performance. in that case you need to pay synchronization rights. Since Laserium was live (well, most of it), we only paid for performance rights. We took the less expensive route. I wonder how fully recorded laser shows are licensed nowadays? Or maybe it still falls under performance licensing (like Muzak)?

Also, canned shows are frozen in time, they never change or evolve. Every performance is identical. With a live Laserist, the show gets better and better as time passes, and each Laserist has their own take on the performance, even if we start at the same place with the PIN sheets. That gives patrons the incentive to come back to shows and have new experiences each time.

Ron

The 6B had two image busses so it could do variations of one or two images on four scanners in rygb. (Yes the projector technology evolved over time - unfortunately I haven't seen any hint that the underlying philosophical concept of what we were trying to do evolved with the technology. Technology is cool, it fun to come up with new stuff. Integrating the new stuff with the old stuff might best be done by completely changing the paradigm - that didn't happen. Mostly the new stuff was just wired in wherever.) Laserium began before before it was economically possible to automate an entire show, and we embraced the live aspect. It set us apart to the point that some people who did canned shows claimed they were live. One problem with highly choreographed automated shows using representational vector art is it really doesn't leave anything for the laserist to do except screw up the vector art story line. I'm not saying someone could never do a great "highly choreographed automated show using representational vector art", but I (being the ancient curmudgeon I've become) don't think that show should be called Laserium.

Orson Wells once said the lack of constraints is the death of art.

[Greg]

The 6B had two image busses so it could do variations of one or two images on four scanners in rygb. (Yes the projector technology evolved over time - unfortunately I haven't seen any hint that the underlying philosophical concept of what we were trying to do evolved with the technology. Technology is cool, it fun to come up with new stuff. Integrating the new stuff with the old stuff might best be done by completely changing the paradigm - that didn't happen. Mostly the new stuff was just wired in wherever.) Laserium began before before it was economically possible to automate an entire show, and we embraced the live aspect. It set us apart to the point that some people who did canned shows claimed they were live. One problem with highly choreographed automated shows using representational vector art is it really doesn't leave anything for the laserist to do except screw up the vector art story line. I'm not saying someone could never do a great "highly choreographed automated show using representational vector art", but I (being the ancient curmudgeon I've become) don't think that show should be called Laserium.

Orson Wells once said the lack of constraints is the death of art.

I agree with all those points.

1) It is what it is. A frozen iteration much added to. Example: I heard that audiomod rotator meant something about how a new thing's signal entered the system, not anything about rotator being audiomodded. A while back you put forth the idea, my memory and understanding notwithstanding, of the process of completing one's perfectly thought out feature accommodation system, and then immediately thinking of the one feature that requires a complete redesign, and starting over. At this time I'm enjoying that rare plateau where one's invention actually works and allows the seeing of the previously unseen.

2) I share the curmudgeon's view of live musical events free of canned content generally being a more powerful emotional experience that alternatives. And that includes visual music. I brought my guitar playing and performing level up by watching Steve Howe through binoculars. I have to consider though, that my ability to perform with the historic 6B console I put the image generators back on to is limited by the poor quality of many of the pots, and also, is limited by the reality that having technical skill as, say, a guitarist, can only complement the ability to get an audience to want to accompany performers on a journey. I don't believe years upon years of performing for live audiences is something that can be faked. You can't fool the fans. That said, I'm now working backward through the catalog, toward the earlier 4 track shows where two live hands become important again.

3) I agree that show shouldn't be called Laserium. That logo does appear throughout the historical era of laser art I enjoy learning about. Thinking of a name is all sorts of a job. My current thoughts are, maybe something like, Planetarium Laser North.

[Greg]

Another aspect of live vs. canned was (I believe) licensing the music is much more expensive for a recorded performance. in that case you need to pay synchronization rights. Since Laserium was live (well, most of it), we only paid for performance rights. We took the less expensive route. I wonder how fully recorded laser shows are licensed nowadays? Or maybe it still falls under performance licensing (like Muzak)?

Also, canned shows are frozen in time, they never change or evolve. Every performance is identical. With a live Laserist, the show gets better and better as time passes, and each Laserist has their own take on the performance, even if we start at the same place with the PIN sheets. That gives patrons the incentive to come back to shows and have new experiences each time.

Ron

I spoke recently with a program director for a cinema who expressed the it's easier to get forgiveness than permission approach to, as he put it, mix tape laser shows. He said that apple music won't sue us for playing a beatles song, unless you advertise it.

[laserist]

From the research I've done, the "easier to beg forgiveness than ask permission" approach - when it comes to music rights - only works if you have relatively empty pockets...

[Greg]

Brian, Ron, It seems that you would both speak against any plan to make any of the restored content seeable by the public. Fair enough. You know best. Is there anything else you'd like to see me do? Should I set all the restoration aside and develop a toolset for multichannel live laser art? Should I get a job at Pangolin? Should I take the opportunity to have the last living laser rock stars provide feedback on my skill as a performer focusing on the ancient echoes era shows? Is there anything you want back? Seldom, I expect, is an individual fortunate enough to have such a hunger for answers so well served.

[laserist]

https://www.salon.com/2023/11/24/the...igning-master/

Okay, so this is about a guy who remastered the yes album - if there's anybody that would understand...

[Greg]

https://www.salon.com/2023/11/24/the...igning-master/

Okay, so this is about a guy who remastered the yes album - if there's anybody that would understand...

Interesting. I'll have to chew that over to find the lesson there. Photo is off topic, but for the record, The five members of the classic lineup signed my copy at Sam The Record Man on Yonge St. about 20 years ago.

Roj: Cool time limited story. You must have been in heaven during that time. By the way, I'm pretty sure anything said here contains no sleight, negativity, or discouragement. And thanks for your encouraging philosophical points. I work tomorrow, which means sleeping now, but I may respond a bit more in a bit.

[ronhip]

Greg,

I'm sorry if you misinterpreted anything I said as a suggestion you abandon ANY of the brilliant work you have done so far! I was just commenting on one of the reasons (not the only one) Laserium chose live performances over recorded performances (aside from the fact that it was not technically feasible by the company at that time). Paying musical royalties is just part of the game. I don't believe it's very expensive (a small portion of the ticket price even way back then.)

You should keep doing what you love doing, and I certainly see a LOT of passion going into your restoration work. I can tell it delights you. You should do what delights you! (Besides the fact you seem to be very good at it!)

I didn't comment on using the name "Laserium", but I think that may not be possible. Lumalaser currently owns the trademark. But, there are a million other names you could give it and simply describe it as a "Laserium-like" experience. I don't know the law on that.

Ron

Brian, Ron, It seems that you would both speak against any plan to make any of the restored content seeable by the public. Fair enough. You know best. Is there anything else you'd like to see me do? Should I set all the restoration aside and develop a toolset for multichannel live laser art? Should I get a job at Pangolin? Should I take the opportunity to have the last living laser rock stars provide feedback on my skill as a performer focusing on the ancient echoes era shows? Is there anything you want back? Seldom, I expect, is an individual fortunate enough to have such a hunger for answers so well served.