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At 07:28 AM 7/6/2003, Paul Sanders wrote: >But, laying awake in bed last night I think I figured out how to do this. > >Just be sure to use loop copy when adding a new loop for the rhythm >guitar, then >when turning off the guitar part, switch back to the first loop without >the >guitar. That's the idea. It doesn't do truly multi-track loops. You accomplish similar results using Overdub, Multiply, LoopCopies, Undo, etc. >The logic there is a bit less elegant though. It is a different way of thinking than a recording studio, which is the way most people are used to thinking about multiple recorded parts. It isn't more or less elegant, just more tuned to a completely different sort of usage. The recording studio approach gives you tremendous flexibility and control. The trouble with the recording studio approach is it becomes very cumbersome and awkward to perform live, while you are otherwise engaged in playing instruments and entertaining an audience. It takes too many button presses, too many things to look at and keep track of, and too much time to execute the basic stuff most people need to do. As you scale up to more tracks the problems for a performer grow exponentially. The "psuedo-multitrack" approach that the echoplex and other loopers use was developed entirely in a live performance context. It is meant to be efficient, fast, and seamless for real-time operation. It doesn't have unlimited flexibility, but it is much more efficient and easy to manage while performing. For example, what if you want to create 16 tracks of layered percussion? On the Echoplex you just turn Overdub on and keep playing. If it turns out you really wanted 17, that's fine just leave overdub on a little longer. Most of your concentration is on the instrument, while the looper handles the details of how it is recorded. In a recording studio, for each layer you are arming different tracks, rerouting signals, moving faders and knobs, etc. If you run out of tracks you have start bouncing and it gets more complicated. That's a lot of concentration not devoted to playing the instrument. The studio gives you the flexibility to manipulate each specific layer so you can spend hours tweaking it very carefully to get the mix you want, which is perfect for recording. but not very many audiences would want to watch that and most people don't try to do it live. In performance most musicians have much more straightforward needs that are easily met by the looper approach without interfering with their playing. Once you get used to thinking about it in different terms, you'll see how fast and easy it is. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com