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Looper's Delight
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At 3:22 AM +0000 12/18/01, Chris Olden wrote: > I wanted to ask the listers about their approach to looping in a >live setting. Almost all of the live looping I do is improvisational, and almost all of that has been me capturing loops of other people's performance or of recorded sources. In the past my main loopers have been Eventide H3000 and DSP4000, and TC2290. I now have an Eventide Orville, which I programmed as a 4-channel looper but haven't yet used in performance. I recently bought two Repeaters and have been using them with guitar, but don't have the gall to inflict that on an audience. I sometimes use long loops with regeneration, indulging in the usual Frippery, but I'm more inclined to capture short loops of another performer's phrases. Once I have something captured I usually mess with it in a manner that depends a lot on the properties of the looping device. For instance, changing a loop length in an Eventide H3000 causes the pitch of the looped material to change to a higher or lower pitch depending on whether I've shortened or lengthened the loop, whereas changing a repeating sample playback in a TC2290 leaves the pitch alone. Because I'm rarely performing on a conventional instrument, I can devote my attention to the looping system in such a way that it IS an instrument. Thus I rarely let looped material just "sit" in the musical texture. I often "capture and dump" material at a rapid pace, or I may capture several simultaneous loops of contrasting materials and bring them in and out of the mix. -- ______________________________________________________________ Richard Zvonar, PhD (818) 788-2202 http://www.zvonar.com http://RZCybernetics.com http://www.cybmotion.com/aliaszone http://www.live365.com/cgi-bin/directory.cgi?autostart=rz