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Kim, Do you know how *&%$%$#@ brilliant you are. That NextLoop metaphor was extremely useful in helping me (a non-EDP user) understand some of the things you EDP people discuss. It is no small talent to be able to describe such events in layman's terms. Kim Flint wrote: > At 7:53 PM -0700 5/16/98, Randy Jones wrote: > >Hi All, > > > >Kim, I love this train metaphor. It made a lot of things clear for me. > >Could you put NEXT LOOP in this metaphor for me. Will anything else fit? > > > >thanks, > > > >Randy Jones > > hmmm, not the sort of Engineering I set out to do...... > > All Aboard! > > (sorry....) > > If you missed this bit before, here's the train saga so far: > > >> The feedback level is applied after the loop audio output, and > >> before the loop audio is mixed back into delay line, so a given bit of > >> audio still has to wait 20 seconds before it is heard again with the > >> feedback setting applied. The feedback structure looks a little bit > >> like this crude ascii drawing: > >> > >> > >> _________ > >> ______________|feedback |__________ > >> | | level | | > >> | |---------| | > >> | | > >> input => ------>(x)--->|=========================|------> output > >> delay line > >> > >> > >> > >> the idea of cycles and loops (were a cycle is a subset of the loop) is > >> another sort of abstraction, and I'm not even very sure how best to > >> put it into the picture above. This is dumb, but maybe it works: > >> > >> Think of the path above as a train track that goes around in a >circle. Your > >> loop would then be the train following the track, with the front end >of the > >> train just reaching the back. Each cycle would be a car in the train. >Doing > >> a multiply or insert adds cars to the train and makes the track >longer to > >> let it fit. Now, if a given car (cycle) is at the feedback level >station > >> when you adjust the feedback, it still has to go all the way around >the > >> whole track to get to the output. > > ok, NextLoop rides the rails: > > If a single loop is like a circular train track, then multiple loops are > like several circular train tracks lying next to each other. Each can >have > a train on it, but only one of the trains gets to go at a time. Only that > one has the input and output tracks connected to it. The audio riding on > the train gets on and off there. > > When you press NextLoop, the train we are on stops and just sits there, >and > a the train on one of the other tracks starts up. The tracks to the input > and output loading docks get connected to the new track. > > If there is no train on the next track yet, you press Record to build a >new > track and put a train on it. This train starts off with one car (a >flexible > one, I guess). Using multiply and Insert adds new cars, as previously >noted. > > If you have Switch Quantize on and you press NextLoop, the guy who >controls > the track switching waits until the car currently at the output dock gets > completely past it before throwing the switch. > > If you do a loop copy, the audio on the current train gets a transfer to >go > to the new train. It gets off the first train in orderly fashion and gets > onto the new train, along with any new audio passengers. Actually, it > doesn't get off the first train. A mad scientist has a lab under the > transfer station where he runs a secret cloning operation, so it's an > identical copy bording the new train and the original has to stay on the > old train. > > If you do a time copy, the audio doesn't get to transfer, but the guys >who > build the new train and track make sure to use cars that are the same >size > as the previous train. > > If this helped you, well, at least something is....:-) > > Somebody else can figure out where midi clock fits into all this. > > kim > > ______________________________________________________________________ > Kim Flint | Looper's Delight > kflint@annihilist.com | http://www.annihilist.com/loop/loop.html > http://www.annihilist.com/ | Loopers-Delight-request@annihilist.com