best of both worlds

[Bret <echoplex@yahoo.com>]

--- Larry Tremblay <ltct@concentric.net> wrote:
> Seriously though, the reason much of Eno's stuff>
(for instance) sounds
> so organic, unforced and free-floating is due, in>
part, to the
> non-synchronized nature of his loop machines. It's>
much freer I think,
> and purer to the ambient spirit. Otherwise, looping>
is reduced to
> nothing more than a parlor trick of real-time,>
multi-tracking. IMO,
> quite restricted and limited possibilities.> 
> On the other hand, having the best of both worlds>
would be ideal:
> the choice of sync or non-syncronized "layers" in>
real-time, and
> NOT tied down to a computer. Who can afford 4 EDP's?

4 EDP's would be about $3000.  Seems like many
musicians find a way to afford 1 or more instruments
that cost that much, plus amps, speakers, mixers,
recorders, effects, etc.  I am shocked at all the >$2k
guitars and basses that are being sold these days (I
grew up in the 60's).  

My choice nowadays is a $250 pawnshop guitar (gutted
and fitted with internal gk2a) and spend my money on
voices (vg8, gr09) and 3 edps.   

I agree that non synced loops can yield a beautiful,
flowing, variable, organic soundscape.  Without sync,
it becomes tough to play rhythmic music that does not
become chaotic, at least for any length of time.  Not
that chaotic rhythmic music is a problem, if that is
what you want to create.

I think multiple edps is the best of both worlds. Or
as close as exists today. 

Using multiple edps with multiple musicians yields
much more power and flexibility for us than you might
imagine.  It is far more than just live multitracking.
I agree, that alone would be very limited in the
scope of sounds created, and the fun to be had
looping.

One of the cool things about the edp is that
flexibility is designed in, and the user interface
encourages interaction with the current loop.  I can
sync with my musical partners or not.  We can sync
even if we have different length loops.  I can sync my
7 bars to anothers 5 while we are synced to anothers
31 bars of music.  We don't discuss or plan how long
each of our loops will be, or who will loop and who
won't.  These variable length, sync'd loops move
(beat)
against each other in a changing manner, yielding the
sort of organic evolution that you refer to with
unsync'd loops. 

With edp's, this movement of loops against each other
can be done with highly rhythmic material just as
easily as more ethereal, ambient washes of sound, or a
combo of both.  Further, each of these individual
loops can be started, stopped, overdubbed, layers
undone, reversed, faded, erased and re-recorded
differently, or create a second (or 9th)loop, all
while maintaining sync with my partners (or not if we
wish).  

What could be more flexible and more allow
more variability?  Multiple edps with brother sync are
definately more than just live multitracking.  
 
I am amazed at the varieties of sounds that can be
created and manipulated with this $2k worth of edps. 
I have never regretted buying 3.  I have never had
more fun playing music with others.  

We used to have a few jammen, a boomerang, and EH16,
and that was fun, but not nearly as flexible and
controlable as multiple edps (as our base of loops). 
 
The EH16 (and/or a vortex or 2) is very nice with 3
edps, however.  You gotta like time warped, pitch
shifted chaos on top of a good foundation.  Swirling,
moving, divebombing icing on the cake.
bret

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