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There are a couple things that can do that - I think it most frequently it involves recording several takes of the chord, and layering them very carefully together. Not quite looping, but careful engineering/production work. The best-known cases of this usually do it to the vocals: --The end of "More Than a Feeling" by Boston (which I love) --"Sheep" by Pink Floyd (actually, it's used to 'morph' the voice into a synthesizer) --"The Rip" by Portishead Also - If you record a loop at an odd time interval, so that the 'seam' doesn't always land at the same part of the rhythm, it makes it feel less repetitive. Do that with two non-synched loops of the same material, and it feels even more like a drone. (Actually, I think this is what the Portishead song does.) There's a device for guitar called an eBow, used by many folks on this list. It magnetically excites the guitar string to allow for infinite sustain. (It does other stuff too.) You'll hear it in many 80s guitar solos. You can make a single note seem to last indefinitely with one of these. Moog guitars have magnetic exciters built into each string, so you could easily get infinite chords with one of those. In computer editing, there's an effect called Time Stretch, which can be used to increase the duration of sounds. It's usually pretty obvious when used to extremes - sort of a digital detuney sound that I like a lot. I'm not aware of any pop music songs that have it. Coil does it at the end of their song "Heaven's Blade" and a bunch of others. Our own Michael Peters uses it for a lot of "Stretched Landscape". When editing a track on a computer, there's a technique that I'm sure has a better name, but I call it "back and forth looping". Basically, you can create an illusion that a sustained sound is not looped by reversing the sample when it gets to the end, and then toggling back to forward when it gets to the beginning. This makes the seam virtually disappear, and the perception of looping is mostly based on the events in your sample, which repeat half as often as they would've if you didn't use reverse. And yes, there's an Electro-Haromix effect called the "Freeze", which makes an instant indefinite drone out of whatever it hears when you hit the switch. -- Matt Davignon mattdavignon@gmail.com www.ribosomemusic.com Podcast! http://ribosomematt.podomatic.com On Wed, Apr 11, 2012 at 1:52 PM, Tyler <programmer651@comcast.net> wrote: > Hello, all! This is Tyler the comedian! Back in 2006 (which, according > to what I see on Looper's > Delight, everything except the mailing list became inactive) I had this > dream about a song that I had > heard just days before. In the dream, though, part of it was looped; a > dream about a remix before I had even > heard of a remix. Well, in this dream, there was a chord; I think it was > an A chord. In real > life, the chord in the song lasts for 3/4 of a second. In the dream, it > lasted for 20 seconds, > then it faded, implying that it could loop on forever! Well, in the > dream, it sounded like one long chord, not > a loop. Is this possible in real life; to make a loop that, if someone > heard the remix before they > heard the original, they would think it was originally that way? Let's > say there's a chord that lasts for > 3/4 of a second in a song. Is there a way to make a loop that, when > played, it would sound like the > chord was held for 20 seconds? So that a listener not familiar with the > original song would think that it was > really held for 20 seconds, and not really sound like an obvious loop? > Tyler Z >