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> So here's a question to ponder: > If a million monkeys post to Looper's Delight, how long before one of >them > happens to post on topic? :-) Perheps some of you monkeys would be so >kind > as to explain how loops and looping fits into your monkey music? > kim Hi Kim... It's haha funny how often I'm involved in off-topic redirection... 8-> Actual on topic implementation strategies follow! Solo, I typically loop the first "interesting bit" I come across, however long. Which I then either compliment / argue with / Vortex / car crash... then later fade while permutating, often with short sequeway loops from either Vortex, LXP15II or the delays in my GX-700... In ensembles it becomes quite a bit harder to slip in loops... It's mostly chemistry... are the jam mates really listeners, or do they really need to get their own ideas out? Often the first person to loop defines that portion of the improv. Then it's up to others to support / subvert the given musical content. Using short cloud like loops to provide a backdrop sometimes works well when there's other defined material present, sometimes allowing the longer more defined loop/looper to permutate without dropouts... Using short loopers with time knobs and wacking at the hold button until it's resampled itself into bleeps and blips provides actual interesting and surprising content to play with... ala Bill Frissell and Nels Cline. Sending the JamMan through my Waldorf 4-pole analog filter often completly revoices the loop adding very percussive elements. This can also morph into insect like twitching... and finally descend into the sub-bass muck which the filter does quite well. If the insect sounds become bothersome, I groom them from my own loops, then move over to my fellow looper... best, monkey-man-miko