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Looper's Delight
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At 12:57 PM -0500 3/6/02, Dylan DeAnda wrote: >Alright, I am going to cut this boring diatribe short now. Not boring in the least! It's really interesting to hear a clear explanation of the technology, techniques, and musical rationale for this performance practice. I for one have been marginally aware of this work (I've even been involved in some events through my connection with Naut Humon and Sound Traffic Control) but haven't really been a habitué of the scene (my club days were 1965-73). Therefore it's only recently that I've taken a look at what people are doing. Although the social contexts and specific musical forms of DJ/turntablism vs. artsy sound collage and sound mangling are substantial, there are many commonalities that can be explored to mutual advantage. At 12:25 PM -0800 3/6/02, Andre LaFosse wrote: >I gotta say that seeing what you were doing definitely increased my >appreciation of your set at the gig. I'm wondering if there's anything in turntable tools that I might be able to use within my own thing to justify the expense, or if I should just get back into laptop mode now that its possible to do real time audio inside a Powerbook. One obvious advantage is the reduction of schleppage. For Loopstock I carted a six-space rack chock full of Eventides, plus another 40 lbs of assorted cabling, CD players and media. It would be so much handier to have a TBook or iBook with an audio interface and a set of compact controllers. The main problem with laptopism is that it's so fucking boring to watch! The performance interface needs to be more like a traditional musical instrument, requiring effort and expressive gesture. As one of my great heroes Michel Wiasvisz points out: One has to suffer a bit while playing. Consequently, when we design the physical interface of a computer music instrument, we need to carefully match transducers with the musical...taking the feedback requirements of dynamical expression into account...As for the audience, it perceives the physical effort as the cause and manifestation of the musical tension of the piece...Even if pushing a button does not need a complex movement, like hitting a key on the piano it can be done in an expressive way. -- ______________________________________________________________ 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