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Re: looping percussionists
check out http://www.davidcossin.com for an important looping
this is the guy who also did the drums for Crouching Tiger Hidden Dragon.
one of my best friends and colleagues. also, your looping history is not
complete if it doesn't include Phil Kline, the boombox guy...
hope that is a contribution. I love what you're doing...
On 4/28/03 8:32 AM, "Geoff Smith" <email@example.com> wrote:
> When ever I have worked with solo percussionists/drummers I have found if
> you get the monitors in the right place and at the right level i.e.
> relatively quiet then the musician in question has no need to hear an
> amplified version of their instrument back, only the looped signal.
> If your working with a band then sensitive placement of the microphones
> monitors again usually removes the problem. I think the hardest sources
> instruments like the Djembe which love to cause feedback. In short you
> a good engineer behind the desk the no problem.
> on 28/4/03 2:14 am, Steve & Marty Thomas at firstname.lastname@example.org wrote:
>> Hello loop culture,
>> Wanted to respond to Paul's question. I am one of those loopers that is
>> not a guitar player, but a percussionist/
>> monophonic analog synth. player. Here are my two cents on some of my
>> looping adventures.
>> The biggest hurdle for me is taming the Mic- mixer-EDP-monitor problem;
>> because, the monitor is constntly feeding the mic. which continues to be
>> recorded into the EDP resulting, at best, as an overthickening of the
>> loop. At worst, horrible feedback rips off my head.
>> If I'm recording I monitor through headphones. Live is a different
>> situation, so I use a sm57 which is a very good uni-directional mic.
>> that decreases feedback potential. And as soon as I'm done with my mic
>> level sources (which usually is after the first or second pass) I mute
>> that channel and loop the line level sources.
>> An in ear monitor would be perfect if you have many mic level sources or
>> need to use a more sensistive mic.