I use this technique quite a bit. I'm usually looping electronic (analog synths) or processed speech (samples or a live mic). The music is usually big and noisy, which is fine with me, and one nice way to bring it all down with a real edgy feel is to replace sections of the loop with new, sonorous material. (I prefer silence or a nice soft drone as the new material). On my Ibanez DD200, I turn "hold" on and of with a pedal, and with my echoplex, of course, I use Insert in rpl mode. The insertions are usually quite short, and I time them as randomly as possible. There comes a point where enough of the old loop has been replaced that the remainder re-organizes itself perceptually into a rhythmic sequence of short "spurts" of the original material appearing in silence or from that nice, even drone. Often, one section or another of the new, rhythmic loop will have a better groove than the entire thing, and I'll use multiply-record to nab just that chunk, and then I've got a nice rhythmic beat to build something new upon. When you listen to a voice become a mass of swirling voices, then a giant cloud of noise, and then finally that same sound becomes an electronic beat, it's pretty astounding. That's why it's one of my favorite things to do. (It's also real handy when the rest of the band just doesn't have the same appreciation for your 25-second looping masterpiece, and you need something new for them to groove to.) ___________________________________________________________________________ Chris Stecker firstname.lastname@example.org Graduate Student, Psychoacoustics 3210 Tolman Hall, #1650 University of California, Berkeley Berkeley CA 94720-1650 Auditory Lab, B-50 Tolman Hall, (510)642-5352 http://ear.berkeley.edu !!Ask me about Space Mesa, Ovenguard Music, Receptacle Culture, and CELL!!