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Re: Creating Space



Nice approach, 
How do you setup a polyphonic environment?
Which processing HW (not counting PC's)  that can output a 
(mono/stereo) input signal on 4 outs? I'm thinking of synth stuf (Nord
modular) but are there any reverb or chorus that can do so? That would
be wild.
Do you need to setup a mixer with 2 aux or a split box? I'm  
interested ;-)

Ben



--------------------------------------------------
Ricky Graham <rickygrahammusic@gmail.com> wrote:
(11/01/2012 12:34)

> I'll approach this from a different angle - somewhat inspired by this
> mornings FB conversation with Per. Another way to deal with dense
> polyphonic texture is to distribute the sound spatially. I notice a
> lot of users on here limit themselves to stereo reproduction -
> understandably so - it is difficult to access more than a stereo PA!
> However, if you have the means to use more than one or two speakers
> within a performance environment, I would highly recommend that you
> investigate the distribution of your loops spatially. Just another
> approach versus space being associated somewhat synonymously with
> silence. You can let multiple loops become as polyphonic as you wish,
> if they occupy their own physical/acoustic performance space.
> 
> Even two amplifiers on stage makes a difference. As Sjaak may attest
> to, one of the most impressive live looping gigs you can experience is
> Hellmut Neidhart's, "N" - allowing continuous drones to evolve and
> continuously compliment each other.
> 
> http://vimeo.com/10136228
> 
> 
> Best,
> 
> R
> 
> On Wed, Jan 11, 2012 at 9:45 AM,  <mike@michaelplishka.com> wrote:
> > Great perspectives, Per!  Definitely worth applying and ruminating 
> > over..
> >
> > Funny. I was showering this evening and a song came to mind that I 
> > wrote some time ago called, "All the things I don't say."
> >
> > It's a pseudo-looping tune. Some looping but vocals and some solos are 
> > overdubbed.  I blogged about it in conjunction with a provocative 
> > interview with Andrew Pek of ivibeglobal.com.  The blog was about 
> > innovation but it's apropos for music/looping as well. The song and 
> > lyrics are included.
> > http://www.customerthink.com/blog/being_in_between_mindfully_exploring_the_space_of_interaction_and_innovation
> >
> > ~peace~
> >
> > Mike
> >
> >
> >
> > www.michaelplishka.com
> > www.scribbledmusings.com
> > www.zenstorming.com
> >
> >
> > -----Original Message-----
> > From: Per Boysen [mailto:perboysen@gmail.com]
> > Sent: Wednesday, January 11, 2012 1:26 AM
> > To: Loopers-Delight@loopers-delight.com
> > Subject: Re: Creating Space
> >
> > I would say that the solution to this, as to most other musical
> > issues, is to listen more. This may seem obvious for many, but for
> > those who typically plays instruments like the guitar and the piano it
> > can easily happen that learning to play the instrument, as a
> > bi-product, also causes the musically rather destructive habit of
> > approaching music-making as "positions on the fretboard where you push
> > down strings when plucking them" rather than viewing music as sound
> > and expression of emotional content. I've been stuck into that trap
> > myself and know that it can be a depressive experience. You need to
> > "de-learn" the instrument in order to rediscover music and one way can
> > be to try playing for a while in a manner that always avoids the
> > typical notes and phrases that "just pours out through the fingers".
> > If you don't feel that a certain note will fit in perfectly well to
> > play next - shut up and listen for another second until you really get
> > the feeling of what note that makes musical sense to continue with.
> >
> > This teaching may seem counter-productive to a lot that is taught in
> > jazz, since jazz to a great deal is about implying phrases, scales and
> > melody runs. But this conflict doesn't really exist because that level
> > of jazz teaching only works at the level where music is understood as
> > "sound and expression of emotional content". This because scales and
> > melodies do have there own colors just as specific notes (related to a
> > key) have. Or told in other words: the true meaning of a melody is not
> > the order of the notes but the emotional content it brings.
> >
> > This can of course be applied to live looping as well, since the
> > looper also is an instrument.
> >
> > Greetings from Sweden
> >
> > Per Boysen
> > www.perboysen.com
> > http://www.youtube.com/perboysen
> >
> >
> >
> > On Wed, Jan 11, 2012 at 6:47 AM,  <mike@michaelplishka.com> wrote:
> >>  We all know that music is as much about the silence as it is about 
> >> the
> >> notes.  However, when doing live shows, I often struggle with finding 
> >> ways
> >> of stripping down the performance (I use an EDP or Boomerang when I 
> >> loop).
> >> What do the members of this esteemed group do to help give silence 
> >> her due?
> >>
> >> ~peace~
> >>
> >>
> >> Michael
> >>
> >>
> >>
> >> www.michaelplishka.com
> >> www.scribbledmusings.com
> >>
> >>
> >>
> >