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Rainer Straschill wrote:
"Now think about the possibility to do some multi-track work here - have
bass drum in one loop, the snare drum in another one and so one. With that,
you can now add some crazy ringmod to just the snare drum loop, or send the
bass drum through a reverb delay, or replace the cymbal part without
touching any of the other parts...you get the idea."
Of course, Rainer, I am hip to this approach to using multiple tracks and
have done it a lot even back in the days when I had three synced Lexicon
(circa 1996). I'm even about to add a second 6 space rack of Electrix
gear (MoFX, Filter Factory) with a patchbay to my
local-more-produced-live-looping shows just to increase my
precision control utilizing this strategy.........unfortunately I'll be
unable to tour with this much gear (not that it ever
has stopped Ted Killian.........lol)
I think, however, from your response to me, that you may have missed the
point of what I'm saying.
I'm not trying to say that one shouldn't use multiple loops or that there
aren't times when it
is very appropriate to use a very muli-layered approach, but more that
can afford to question there constant desire to fill up arrangements with
many different loops.
Max Valentino really hit the nail on the head of what I'm talking about by
"And even with many of the advanced processing powers of this current
generation of both soft and hardware loopers, it still pretty much becomes
the concept of filling a box until it overflows"
As with all things, none of this critique is purely black and white. I
love some maximal musicians and I love some minimal musicians.
I think we all, with this in mind, have noticed that inexperienced
fall into a tendency to fill the box until it overflows.
Our culture tends to be stronger on the teaching of Harmonic density and
to eschew it. Consequently, it is easier for a guitarist, as an example
of avoiding stack their chords too densely for fear of having no room in
Unfortunately, our culture's educational environements tend to be very
light on imparting the sister concepts of
Timbral Masking and Rhythmic Masking
and how understanding these concepts can lead us to the avoidance of
dense, mushy,ineffective and 'overflowing' arrangements.