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Looper's Delight
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In bringing music into this world, we may recognize three modes of work: practice rehearsal performance We practice alone so that we may rehearse with other musicians so that we may perform for an audience. Each of these three modes of work may take place on one of three levels: a demonstration an invigoration a drive towards the future - a reception of a higher spirit And each of these levels may be successful or unsuccessful. Per Boysen describes a very successful performance as demonstration: > I was prepared and started every show with a short speech. Standing by a > stage mic and my midi foot controller, with a saxophone hanging around > my neck, I told the audience that "nothing you're going to hear is pre > recorded / I will create any sound you'll hear with this sax and this > guitar (Stratocaster lying on the floor by my feet), I will record parts > of what I'm playing and use my feet to cut those audio slices into new > music while playing new stuff o top of that". I also said that "I'm > using two loop samplers, an Echoplex and a Repeater" and then finally > "I'm going to improvise music but of course you can as well use loopers > as a tool for composing or performing "normal" music". And then I played > for ten to fifteen minutes. > The second improvisation I did was more clinic-like. I only played the > guitar to keep my mouth free for announcing each new step I was taking: > like "pitching down two octaves here" or "reversing the Echoplex while > in overdub mode" and then I tried to play stuff that made it easy to > hear what I was doing. > > On some occasions I also did a third set after the main audience had > left, for only a few very interested people like musicians, producers > and journalists. > > Well, the bottom line is that you can help an audience to understand and > appreciate live looping. 'nuff said... There is much more to be said about this, but not yet. Douglas Baldwin, coyote-at-large coyotelk@optonline.net