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Looper's Delight
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Per - You're definitely onto something with your "controller interface" response. Which probably explains why computers are so compelling a tool for those who use them to modify their sounds. Yet the interface of the computer -- and the KAOSS Pad -- is just two dimensional. So, imagine if the interface can become three-dimensional? Luca - I think Luca's point about "building a complex algorithm that can be easily modified by a performer on the fly without drop-outs and during performance" (my words) is the "other-side" of the same argument -- again it's about the interface. Luca wants a fast, and easily manipulated interface so he can keep his mind on the playing. Jeff - Your point about "synchronized effects" in a way also speaks toward the simple and fast to manipulate interface argument - this time manipulating more than one effect at a time. But as Luca points out, the "mathematical calculations" -- however we interface with them -- are where the altered sounds come from. Travis reminds us, linking or chaining effects in more complex ways doesn't always sound good. And yet, one man's trash is another man's treasure: how many people passed up using the clicks, glitches and scratch sounds before they were so powerfully deployed in various kinds of contemporary electronic rock? I remember reading something Eno said -- I'm paraphrasing: "If it sounds like it's being abused, it becomes rock." So, as I play "unguitar" I wonder if really what I'm searching for is a way to abuse the effects I already own in new ways that I can control easily and that does not damage them -- all towards building sounds that I employ to build music I like. Based on what I've experienced with my volume knob and a Fuzz Factory, it seems that adding ZVEX tone Fuzz Probe is an important thing for me to get: Unique, three-dimensional interface -- check Simple to manipulate while I play -- check Sounds abusive -- check :-) Thanks guys!!!!!!!! David Kirkdorffer