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Re: Nearly there: EDP Individual loop muting?
----- Original Message -----
From: "Kim Flint" <firstname.lastname@example.org>
Sent: Sunday, July 06, 2003 3:50 PM
Subject: Re: Nearly there: EDP Individual loop muting?
> It is a different way of thinking than a recording studio, which is the
> most people are used to thinking about multiple recorded parts. It isn't
> more or less elegant, just more tuned to a completely different sort of
> The recording studio approach gives you tremendous flexibility and
> The trouble with the recording studio approach is it becomes very
> cumbersome and awkward to perform live, while you are otherwise engaged
> playing instruments and entertaining an audience. It takes too many
> presses, too many things to look at and keep track of, and too much time
> execute the basic stuff most people need to do. As you scale up to more
> tracks the problems for a performer grow exponentially.
> The "psuedo-multitrack" approach that the echoplex and other loopers use
> was developed entirely in a live performance context. It is meant to be
> efficient, fast, and seamless for real-time operation. It doesn't have
> unlimited flexibility, but it is much more efficient and easy to manage
> while performing. For example, what if you want to create 16 tracks of
> layered percussion? On the Echoplex you just turn Overdub on and keep
> playing. If it turns out you really wanted 17, that's fine just leave
> overdub on a little longer. Most of your concentration is on the
>From reading the Repeater manual, looks like you can do this with it too,
you have the flexibility to put something on seperate tracks of the loop
be turned off and on during the loop.
Sounds to me like the best of both worlds.
We'll see. If it's too cumbersom, I won't use it, so I'll sell it and try
> instrument, while the looper handles the details of how it is recorded.
> a recording studio, for each layer you are arming different tracks,
> rerouting signals, moving faders and knobs, etc. If you run out of tracks
> you have start bouncing and it gets more complicated. That's a lot of
> concentration not devoted to playing the instrument.
> The studio gives you the flexibility to manipulate each specific layer so
> you can spend hours tweaking it very carefully to get the mix you want,
> which is perfect for recording. but not very many audiences would want to
> watch that and most people don't try to do it live. In performance most
> musicians have much more straightforward needs that are easily met by the
> looper approach without interfering with their playing. Once you get used
> to thinking about it in different terms, you'll see how fast and easy it
> Kim Flint | Looper's Delight
> email@example.com | http://www.loopers-delight.com