I guess I would go back to the music that drew me to live looping in the first place: repetitive ostinato oriented music of the african and african diaspora paradigm, either on drums, string instruments, flutes, reeds, brass instruments, found sounds or voice. My first love of repeating interlocking parts came from listening to African music and Steve Reich (in particular, "Music for Strings, Percussion and Celeste" /Terry Riley/Philip Glass and also to a lot of the trancey-er kinds of repetive music from the "In A Silent Way/Bitches Brew" era that Miles Davis and all of his innovative bandmates innovated in the early 70's and the early ECM recordings (I think particularly of 'Sand Glass' by Eberhard Weber and 'Corinthian Melodies' by Art Lande and the Rubisa Patrol (with a young Mark Isham on trumpet). Seeing Jaco loop a bass harmonics part in the early 80's just turned me on fiercely as did the innovation of angalogue sequencers and drum machines in the 60's and 70's because they meant that I could make repetitive kinds of music without having to try and harangue other musicians into playing parts in a disciplined and minimalistic manner. I've always been a rhythmatist first (though I think of myself as almost more of a timbralist now) and I've always felt that the most interesting rhythms were the ones that were powerful enough and classic enough to bear repeting over and over.................their minimalism gave the most freedom, compositionally, to what was played over the top of them imho. It's why I love to loop but also why I don't feel like I have to loop.