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Hi All, Kim, I love this train metaphor. It made a lot of things clear for me. Could you put NEXT LOOP in this metaphor for me. Will anything else fit? thanks, Randy Jones ---Kim Flint <kflint@annihilist.com> wrote: > > At 12:39 PM -0700 5/16/98, Andre LaFosse wrote: > > >Feedback is linked to cycles; i.e. if you have a 20-second loop which > >consists of one cycle, you won't hear feedback changes until that > >20-second loop has come around to the start point again. However, if > >you have a 20-second loop built off of ten distinct 2-second loops, > >you'll hear an audible change in feedback every two seconds. > > Actually, this isn't right. Feedback works over the whole loop, not the > cycles. If you have a 20 second loop that consists of a single 20 second > cycle, or a 20 second loop that consists of 10 2-second cycles, the effect > of feedback is the same. It wouldn't really be feedback if it did > otherwise. The feedback level is applied after the loop audio output, and > before the loop audio is mixed back into delay line, so a given bit of > audio still has to wait 20 seconds before it is heard again with the > feedback setting applied. The feedback structure looks a little bit like > this crude ascii drawing: > > > _________ > ______________|feedback |__________ > | | level | | > | |---------| | > | | > input => ------>(x)--->|=========================|------> output > delay line > > > > the idea of cycles and loops (were a cycle is a subset of the loop) is > another sort of abstraction, and I'm not even very sure how best to put it > into the picture above. This is dumb, but maybe it works: > > Think of the path above as a train track that goes around in a circle. Your > loop would then be the train following the track, with the front end of the > train just reaching the back. Each cycle would be a car in the train. Doing > a multiply or insert adds cars to the train and makes the track longer to > let it fit. Now, if a given car (cycle) is at the feedback level station > when you adjust the feedback, it still has to go all the way around the > whole track to get to the output. > > > >Building loops this way is interesting; not only can you hear feedback > >results much more quickly, but you can also set up a hidden rhythmic > >foundation for a seemingly rubato loop. In other words, if you've got a > >loop that's built off of several different cycles from the start, then > >you can insert, multiply, and otherwise cut-and-paste the thing to > >produce highly rhythmically precise effects by working within the > >underlying seperate cycles. It's like painting over a brick wall, and > >then adding, subtracting, or re-arranging different bricks once the > >basic picture has already been laid down. > > You're absolutely right about this part. Insert and multiply offer tons of > interesting possibilities for composing loops on the fly. > > kim > > > > ______________________________________________________________________ > Kim Flint | Looper's Delight > kflint@annihilist.com | http://www.annihilist.com/loop/loop.html > http://www.annihilist.com/ | Loopers-Delight-request@annihilist.com > > > > _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com