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Re: the magic act
At 2:49 PM -0800 12/30/09, Matt Davignon wrote:
>I'm glad you brought this up, Christopher.
>One of my frequent goals in looping is to try to not sound like I'm
>looping., or to blur the line between what is looped and what is live.
>I often get the impression of performing some slight-of-hand tricks as
>well. Some of the stuff I do:
>--Create loops of different lengths (on different devices) that are
>long periods of silence punctuated by only one or two notes. Play
>something live that these notes will change the character of when they
Phasing is good. I've spent a lot of time working with analog
sequencers and their digital equivalents -- e, g. on the Nord
Modular. A little phasing can give the listener the feeling that the
music is governed by a rule, but that the details of the rule cannot
be pinned down.
>Christopher Darrow <email@example.com> was like:
>> Looping is a juggling act, and a bit of magic. It takes a bit of
>> hand to keep all the balls in the air.
>> I think whatever is done with INTENTION to achieve this "counts."
>> When I say that looping is a juggling act, I mean that (back when I was
>> looping all the time) I found that something new must constantly be
>> the loop for it to remain interesting. (To me or the audience... I
>> distinction.) So I found the shortest possible means of "building"
>> my songs. (Not that I always chose that route, but good to have the
>> "straight line" on tap.)
>> But sometimes, there is just some necessary space that has to happen...
>> while switching instruments, letting a cycle finish, whatever. So
>> I would throw in a line of vocals or even something as simple as
>> all the open guitar strings so they'd ring and fade, or perhaps an
>> unnecessary momentary reverse. Anything to keep it feeling live.
>> (I also found that the mix needed to be at about 60-65% loop to make
>> the extra energy and volume of the live inputs or else the loop would
>> automatically feel stale and canned right away. But I can't fit that
>> juggling metaphor.)
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