Most excellent post, Thanks Matt!!! On 5/8/12 9:56 PM, Matt Davignon wrote:
You got most of mine. I know of a few more: 9) Paint over the seam: This is so simple and probably so common it's almost not worth mentioning: on the second pass of the loop, record an event that occurs over the start/end point. This works best for non-rhythmic loops. It won't change the perception of repetition, but it will help obscure the start point. ** 10) Loop in an unexpected multiple: This works best with rhythmic playing. In most Western music, people expect patterns to occur in multiples of 2. (Events occur in songs 1, 2, 4 or 8 times in a row, but rarely, say, 5 times.) So, instead of recording 2 or 4 measures of your rhythm in a loop, try recording 3, or 5, or 12 measures. (I do this in the track "Mold" on the cd "Living Things" - the loop represents 3 repeats of the perceived pattern, where the ear expects it to be 1, 2 or 4.) 11) Keep loops minimal& complete them with live elements: The more predictable events there are on a loop, the quicker it wears out its welcome, I think. For example, if someone has a drum loop where there's 16 layers of kicks, snares, claps, toms, hi-hats, crash cymbals, cowbell, shakers, etc, it's only going to take a couple repeats for it to sound canned. On the other hand, if your loop includes only the basic kicks and hi-hats, and you play the snares and occasional accent kicks free-hand, you can get it to sound much more lively.