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Looper's Delight
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On 12 sep 2007, at 15.45, Qua Veda wrote: > It seems to me that one of the primary functions of looping is to > introduce > rhythmic elements - of many forms (glitches, or long repeated > ideas, etc). > (delay - one of the most common and rhythmic FX - can be a form of > looping, > I think.) I also see looping as a multi-media performance > capability, a way > for the artist to keep something going so he can be free to > introduce other > ideas without requiring additional musicians. Its a way to > introduce found > sounds and weird noise in a creative sonic expression. So true, all three examples. I do represent a fourth kind of looping: Instantly creating many parts in an orchestrated arrangement of music. As opposed to being restricted to play only one part at a time on top of "the background") you can use looping as "a musical juggling tool"; ie changing many parts at the same time, the same way a painter may start out with a quick drawing and then fill in different colors and shadows here and there all over the canvas. On 12 sep 2007, at 15.54, Warren Sirota wrote: > One more thought: although I'm not yet sure if anyone agrees that this > community is characterized by at least a leaning towards free > improv, it > seems to me that having a looper is a way to give spontaneous > structure to > free improvisations, which tends to give them a focus that > "straight" (ha) > or pure free improvs might lack (at least in the hands of non-prodigal > artists like myself). That's why I think the combination of loops > and free > improv is such a compelling proposition. Yes, I definitely agree to that. Well said! But I think the "real tools" actually are imaginary, no matter if you apply it to solo looping or group improvisation. Actually, and this is pretty funny, when improvising non-looping musicians tend to sound good they are in fact playing a bit like looping devices!!! ;-) When I first encountered the EDP I was amazed by how well its design (Loop3) implemented the mental tools improvising ensemble musicians use to visualize direction, pace and transition inside the group improvisation, in order to play well in the context. Greetings from Sweden Per Boysen www.boysen.se (Swedish) www.looproom.com (international)