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-Just my thoughts, but I think most people will tend to find the actual
performer(s) and what they're playing/doing on stage to be most interesting
rather than their gear. -and for performers who tend to improvise rather
than rehearse, the complexity factor mentioned, at the expense of
performer/audience interaction never really goes away in my opinion, (I
personally don't view these ideas as mutually exclusive, they're one in the
same...) so one might need to bring the two together in a performance, and
keep engaging the audience while working with gear and improvising at the
same time. <smile> -just a little multi-tasking, that's all...
Remember, the audience doesn't know what you're going to do usually, so
you're as free as any other time, when improvising to let ideas move you,
and then deal with their results on the fly, creatively.
So, by settling into that free aspect of the performance, you can more
freely engage the audience as well.
The same idea of creativity in working with results is really important
when playing rehearsed material also. If you miss a note, you can
thencreatively work with it, if something wonderful happens, you can
creatively work with it, if something bad happens, you can and may probably
need to, lol! creatively work with it. <smile> If you bring the
audience into that process itself, as a part of it, it can enhance not
only the audience's experience with you as a performer, but your
experience with not only the audience, but the performance itself...
<smile> Obviously, the "cool" factor is way important too. lol! Of
course, when I use something neat like the DBeam controller to pitch a
Repeater loop, or improvise dance or movement to music, it's fun and
important, and involves the audience more. The performance is an
experience for everyone, the audience and the performer...
Smiles,
CQ
At 08:21 AM 10/18/02 +0100, you wrote:
>Carsten Wegener <carsten@tyfoo.de> said:
>
>> After five years of playing the same 60, simple folktunes/songs with
>just
>> my good, old doublebass (and still finding new approach in a very
>detailed
>> way of looking),I now come the point to have the freedom to really work
>on
>> my performance. What i want to sayis this: The more complex the music
>your
>> playing and the techniques you are using, the longer it will take to
>become
>> a good musician and performer in the same time. For me the consequence
>will
>> be trying to simplify my setup, my music. I believe this way IŽll
>naturally
>> find an more audience-friendly way to perform my looping.
>
>
>I think this is interesting. I only really started to tour reasonable
>sized
>venues around Europe with a seven-piece jazz-folk band playing complicated
>stuff in odd time signatures (5/4, 7/8 etc). It was where I had to learn
>about stagecraft at the next level from pubs/college clubs. I dont
>remember
>having to concentrate on getting the music right being a problem, ; all
>down
>to being rehearsed properly.
>
>I do agree that having a complex set up can get in the way. One reason why
>i'm reluctant to take out my rack is the fact that it can look cluttered,
>and because I haven't found my own way to make this interesting visually.
>Therefore, the DL4 gets more use than the JamMan/RDS. I'd love to know how
>other people have found a way to incorporate their gear into their
>performance in a way that looks interesting to the audience.
>
>v
>
>
---
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-Then, anything is possible..."
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