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RE: Why ask these questions?

> From: Lance Chance [mailto:lrc8918@louisiana.edu]

> hello,
> i think that a big reason to ask these questions is to inspire dialogue
> about this sound design method.   it ain't exactly easy to compare notes
> about my craft at the local hootenanny.   i mean, it can be a little
> daunting to try and discuss looping with a guy who thinks you're
> cheating if
> you use more than 6 strings and some japanese pressboard.   even more
> prevalent are listeners who's primary response is "hell, that don't sound
> like 'skinnard'" and to whom "you're jes makin that up as you go
> along" is a
> negative criticism.  while i do not live in a technological
> mecca, i suspect
> that most people on this list have similar problems.

LOL! No kidding. I live in a small town in the Pacific Northwest, and it's
extremely musician-friendly. You can't shake a stick without hitting a
guitar player, fiddler, hand drummer, or some other musician.

But it's an extremely ACOUSTIC oriented area. We have three weekly open mic
venues in this small town, and they are literally "open mics." Nobody plugs
in a guitar pickup, ever. Local musicians play into mics, with no effects.
Everyone plays old, beat-up acoustic guitars. Everyone drives old, beat up
Volkswagens and Volvos. The older, the better. This place is the exact
opposite of a "technological mecca."

I haven't tested the local waters... we just moved here recently and we're
still settling into the local scene. But I think a looping performance can
still work in a place like this, if it's musically interesting, and based 
acoustic sources. The key there is "acoustic sources." I'd rather loop
electric guitar, because I have a lot more tonal possibilities with my
Roland VG-88. But I think maybe using an acoustic guitar, and slapping on
the guitar for percussion, can help "sell" the looping concept to a
technologically conservative audience.

Mike Barrs