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Re: Looping with other musicians
> Looping is a wonderful way to accumulate sound. I haven't had much
> using looping with an ensemble. I find the same thing with
> performances seem to be stifled by "following" a track. If loops could
> follow live performances--but they can't! They have no cognition;
> they are
> the past, brought into the present. Sympathetic fellow musicians can
> accommodate this; but generally this caliber of musician can play
> brilliantly using a cardboard box.
> I know that others use multiple delays to process their instrument in
> ensemble setting. Mostly though it isn't looping; it's DSP. That's
> probably the ticket in ensemble playing--requiring less rhythmic
> (IMHO the real killer).
> Let's nobody hold our breath--let it flow!
The old listening is very essential into looping a whole band. The
individual player need to know when either to shut up or how much to
move away from shut up.
I just find, at this point, the loop to be a little restrictive. I can
see a point where, when I learn the Echoplex, to loosen up the natural
restrictions with the power of the unit. This is where the manual
stands in the way. I can't get to what I need to know in a very direct
way from the manual. Otherwise it is a delightful read and I am very
much into how the protagonist learns how to operate in a place and TIME
with an alien culture and the holy writ of a culture who worships
I found the concept of structural dissonance to be the key to this kind
of free improvisation with loops and without. I have my music, you
have yours. Charles Ives. No chords, a loose structure to rhythm and
even a strict adherence to the same thing in the sense that it is
highly disregarded as it is being disregarded. Same with pitches.
New Millennium Guitar