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Looper's Delight
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Cino,
What you are doing with two EDP's is very loosely analogous to the
use of Isorhythms in 14th
century Europe. Check out the music of Guillome de Machaut, one of the
greatest known composers
in the Western world until Bach. Though isorhythms can more precisely be
done via MIDI, you are
basically creating a set of polymetric loops. This is something that
Fripp and others have
explored quite a bit in the last few decades. Too bad the EDP can't do
pitchshifting. Perhaps
that is something that some enterprising indiviual with two Repeaters
might try...
Taking the loopers out of sync with each other will be following in
the footstep's of some of
Steve Reich's earlier phase work, to mention just one name...
With the EDP, you might try going into half or double speed or
reverse at a quantised point.
This immediately takes you into Bach fugal territory as he shows with his
augmentation,
diminution, inversion and retrogradation of themes. I'd love to hear this
with 4 EDP's!
If you are panning your EDP's (not necessarily hard left and right),
you will of course make
all this interplay more obvious to an audient, not to mention keeping
track of it yourself.
Stephen
Dennis W. Leas wrote:
> Several years ago I bought a second EDP...
Cino responded:
<<<One of the things I've most enjoyed with this setup is placing
percussion
and melodic instruments in each of the two synced units, but setting them
to
different time lengths. For instance, I'll record a short loop on one,
then
multiply and overdub to, say, 8 "measures." Since the units are synced the
second unit will pick up the original loop length when I record a separate
pattern or instrument on it. I'll then multiply this out to, say, 10
"measures." This creates a very pleasant 'kaleidoscopic' shifting in
patterns as the two loops go in and out of phase while still maintaining
the
same rhythmic basis. Then to make things really interesting I will record
a
melodic part into both units simultaneously. As soon as the loops shift
out
of phase, the melody will be heard in both left and right, but with a
built-in delay between left and right. This sounds equally good in short
delays (1-2 seconds) and longer delay times (>10 seconds, etc.). Another
really cool effect is that when the 2 shifting loops return to the place in
each loop where the "split" melody was originally recorded, it becomes
"one"
again (undivided) and stays a single voice until the loops go out of phase
again. Very cool stuff. All of this works equally well with percussion on
its own (can build up some really exquisite polyrhythms) or melodic
instruments on their own.>>>
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