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RE: Dangerous (learning) curves

Title: RE: Dangerous (learning) curves

>>What I tend to see is this: the more gear is involved in a performance,
the more the musical experience of looping seems to be about creating
this big, massive "thing" that is set into motion, and then sort of
spins around of its own accord, almost independently of the player.
<giant snip><<

yes. yes yes yes. in my band, we have tended to get carried away with the technology, and especially because of the genre we've found ourselves bracketed into, where there's some sort of arms race going on. I am consciously trying to reduce the number of sequencers and midi devices. the other keys player is back behind his drumkit these days, while I am lurching back and forth between keys and a fretless 71 jazz. the guitarist, meanwhile, looks down his nose at my repeaters and refuses absolutely even to consider the bob sellon upgrade (still in it's jiffy bag) for his jam-man. listening to the ways he's used this latter over the last nine years, I find myself increasingly reluctant to add complexity without a very good reason. if he's still coming up with fresh musical ideas with a banged-about tokai strat he's had since 1980, and a clutch of stomp-boxes with no paint left on them, then why would I/should I interfere?

I realised I was becoming obssessive about developing the right co-ordination (not my strong point atbot) to "punch-in" on the repeater and nail a bassline so that I could relax and play something over it. after listening to a bit of can, and a bit of miles davis, I realised that as a bass player, I should just play the line over and over myself and put something else into the repeater, not neccessarily nailed to anything.

this won't work for everyone, but it helped me relax a bit.



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