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latency and looping
ps. On a related note: my electrix mo-fx and filter factory each have
> 15ms latency on them (I think). I can hear the difference when I enable
> them on one repeater track and not the others. Wouldn't it be super nice
> be able to shift the loop back 15ms to compensate right as you drop in
> effect? The repeater can do slip, but its a complicated sequence and
> calculation I think - maybe there's a trick midi thing that can do this.
> Can anything like this be done on the EDP? anyone?
Wow, what an uber hip idea. If you could accomplish that with one midi
command (and I"ve never even actually
used the loop slip function on the Repeater yet) the audience would never
know ( a good thing in this case) but it would really tighten up the sound.
I swear I can hear the difference between monitoring in closed ear
headphones and monitoring it from monitor speakers in front of me. It's
really subtle, but I think I can hear it. It is noticeable, as you say
my brother monitors from the side of the stage as he likes to do. Now,
what may be happening is that you may be reacting to the first reflections
90 degree 'predelays') of the more distant speaker.
About hearing really fine increments of time, I have a synthaesthetic
visualization/audiolization trick that I use.
I imagine in my long garage, that the back wall is the 16th note before the
backbeat on 2 and that the front wall is
the actual metronomic backbeat.
Using that as a visual metaphor, I have tried to increase the perceptual
'distance' between those two points
at varying tempi. Does this make sense?
In other words, at slower tempi I can really feel that much audio/visual
distance between 16th notes and it gets to be much shorter as the tempo
speeds up. What I"ve tried to do is through mental imagery (and I suppose
you could call it 'audio hallucination') tried to increase the physical
distance as the tempo speeds up.
Now my reason for doing this is to see if I can place myself in the timing
anywhere on that continuum that I want to:
a) a few milliseconds after the last 16th note
b) 1/4 of the way towards the next note (the 64th note after the 16th
c) 1/2 way, which is really easy to hear because it is just the 32nd note
c) 3/4 of the way to '2' and an almost perceptible amount before the
I'm imagining all of this as a visualization but I"m also really
concentrating on hearing the differences between where I put the note down
(say if I"m double picking or playing a hand over hand single stroke roll).
Years ago when I got my first drum machine that would play many swing
percentages, I used to practise over and over at
52%, 54%, 56%, 58% 60%, 62%, 64% and 66.6% (true triplet eight note or
triplet 16th note swing, depending on the quantized function). I did
because I was trying to understand the timing intricasies of both New
Orleans 2nd line drumming,West African
Malinkan djember 'swings' and Moroccan Gnawa or Shabia triplet 'swings'
(well they aren't really swings but they are 'moles' or feels that are not
Being a spazz trying to play Brazilian batucada correctly was the first
I ever discovered that playing perfect metronomic time was not always a
thing.................lol. My teacher made me play this one 30 minute
tape over and over on auto reverse so that I could get
the 'mole' of the ganza (shakers) and the repinique (lead, kind of cross
between a timbale and a snare drum without snares).
Take that took me weeks to get feeling right............but well worth the
Loopers, have, actually, been the greatest of my teachers of rhythmic
accuracy or percieved accuracy. God bless the jamman for those lessons.