Re: Cheating (was: Turn All That S**t Off)

[lindsay@pavestone.com]

>I think that with the Repeater being able to store samples on the CRCs,
it's
going to be awfully tempting to include prepared audio--in fact, isn't that
how this thread got started?<

I will interject and say that this was not my intention with the Repeater,
but rather to use it as a real-time multi-track loop recorder.  With
individual outs, I could record integral, but largely foundational tracks
and all their variations, muting, swelling and fading them as necessary.
If I was just going to use the CRC function, I'd just play tracks off a CD
or my computer.  The deal is, I DON'T want to do that.

Question, though: how have audiences reacted to loops in your experience?
Do they need to be educated?  "What I'm doing now is playing this figure,
and it runs into this little machine that repeats it indefiniely."  Does
the initial visual of you playing the first iteration of the loop
suffice--provided that you go onto other portions of the performance?  Are
there cases where you might have exagerated the effort in tweaking your
machines to effect a visual stimulus?  Waving your hands
conjurer/theremin-like when it really only required a quarter turn of one
knob?  Where does showmanship stop and charlatanry begin?

I don't mean to start another philospohical thread, though I've enjoyed
them.  Remember: this is a festival.  In front of college students.  Who
will be drinking beer.  A lot of beer.  And they're there for a show.  The
reality is, the emotive art quotient of the performance in this situation
cannot stand by itself.