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Looper's Delight
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Ed Chang wrote: > Anyway, my theory is that 'alien/possibly great' sounds/concepts can > sound bad even to the genius-composer at the time of creation because >it > doesn't fit comfortably in his/her familiar sound-world... Exactly, Ed. It's that uncharted territory thing. I sometimes hear something i've just worked on, be it a loop or something else (but usually a loop, since other pieces and parts happen more slowly, a little more methodically, or are perhaps more premeditated), and i'll think, no, there isn't enough high end in this to make it sound all nice and balanced. It sounds dull, lo-fi, swampy. It isn't until later that i realize, i've never heard something so damn swampy--this is stinky swampy, and it's scaring me, not boring me. IT'S HAVING IMPACT. Often a good clue early on about what is effective, what has impact musically is when i find myself either laughing or proverbially scared shitless. Sometimes both. But if i can immediately sense the humor in a piece, or the terror, these are probably reflexes to something that doesn't quite sit easily with that sound-world with which i'm familiar and all to comfortable. Unfortunately, i KNOW i'm much better at the scarey stuff. At least that's a reaction others often have to my material, especially my looping. Can anyone suggest how to invoke more humor in the looping process? Either the kind of humor that brings with it tears; or the kind that pulls out that Cheshire grin to the listener's lips, like yeah, i get it. Torn can do it. During the Polytown sessions, he would pull schitt out that had everyone in the control room laughing themselves silly. And he knew it. And i think he may have even been aiming for that. Or maybe he was just trying to crack himself up. Suggestions on how to bring humor (even the nervous kind) into the loop? Pete Koniuto ----------------- Music Library Boston University 617-353-3705 pkoniuto@bu.edu -----------------