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I would again ask Kim to name 5-10 prominent Live-Looping tracks that he
feels sound totally different (excluding installation tracks)
COME ON MAN TAKE UP THE CHALLENGE LETS HAVE SOME FUN!!!
Per Boysen wrote
> Then the guy simply said: "Aha, I see. It's just what Bach did with pen
> and paper, but you guys are doing it in real time and you don't need an
> orchestra to hear it."
This is such a key point the fact that this all happens in real time, no
where else does the live-looping of an instrument (other than syth/sampler)
happen in real time. It is the just as big a difference as there is between
composition and improvisation.
If people would except the title Live-Looping it would become popular and
then in the same way as in dance music sub genres would emerge that would
describe the different bits. The fundemental problem with Live-Looping is
not the name it is the lack of exposure!
The name of any genre is there only to add to its exposure so that people
can talk about it write about it etc.
Like i said before tell poeple its live-looping and people will follow!!!!
Drum and bass went through the same thing with the artists saying... don't
label me... its just music... but having a name benefited the genre because
it creates a buzz and a section in the record shops!!!!!!
That genre went through all sorts of names to begin with before eventually
the artists settled on drum and bass as the name of their music and now
talk
about it with pride!
I would again ask Kim to name me 5-10 prominent Live-Looping tracks that
he
feels sound totally different (excluding installation tracks)
COME ON MAN TAKE UP THE CHALLENGE LETS HAVE SOME FUN!!!
Cheers
Geoff
on 28/5/03 11:06 am, Per Boysen at per@boysen.se wrote:
>> -----Original Message-----
>> From: Doug Cox [mailto:dougcox@pdq.net]
>
>> But does it really matter if a phrase (in this case "Live
>> Looping") that a group of people take up to describe their
>> approach to live music is really a genre, a style, an
>> approach, a whatever?
>
> Good point IMHO. Personally I have had this vision, since 25 years, of a
> music I would like to make. I've never come as close to my dream as I do
> now by using loopers when improvising live. Guess that's "Live Looping"
> for me.
>
>> Perhaps we don't have, or aren't looking at, a good
>> historical example of something as powerful and fundamental
>> as live looping tools coming to fruition.
>
> Another interesting thought! Some days ago Matthias and I improvised
> with a Swedish "noise musician" at a club. Afterwards a guy in the
> audience asked me what we were doing, by technical specification. He
> said he could hear pretty well how Matthias was fading loops in and out
> (although he did understand how he got his guitar sound by polyphonic
> distortion) as our group improvisation went on for an hour or so. But he
> said he had not been able to understand the techniques I was using,
> although he liked the music. So I told him about looping, reversing,
> multiplying, truncating, destructive SUSinsert (dropping in 16ths,
> 128ths or whatever), unquantised and unrounded inserting (not in replace
> mode - hope I get the terminology right?), running two loopers synced
> while manipulating tempo sync to achieve polyrhythmic, EDP half speed,
> Repeater real time pitch change and time stretch etc etc....
>
> Then the guy simply said: "Aha, I see. It's just what Bach did with pen
> and paper, but you guys are doing it in real time and you don't need an
> orchestra to hear it."
>
> Best wishes
>
> Per Boysen
> -------------
> www.boysen.se
> www.looproom.com <-- 1st Swedish Looping Festival, May 16 to June 4
>