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Looper's Delight
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From: "George Ludwig" <sfmissionman@yahoo.com> > Something I've found to be really helpful is to improvise every day and > record it. As a result of doing this steadily for the last couple of > months, not only has my level of musicianship generally increased >(rhythm > especially), but I was able to identify distinct characteristics of my > playing. It might be a rhythmic figure or melodic contour. As a result >of > this, one of the ways in which I now view my playing is in terms of a > "pallette" that I select from. Maybe this is basic stuff to some of you, > but I had never thought about it in those terms before. In the beginning of my looping efforts I didn't make an effort to analyse what I was doing, but at least I made scads of tapes from it all. Thankfully this was unlike my vocal/radio/writing efforts in the late 70s, when, in college, I was so broke most of the time that I used the same cassette over and over again, as it was simultanously a master AND the submission to the radio station. This was Old Radio/Firesign-style comedic material (Fake commercials with shampoo that gets your boyfriend to propose to you even if he's the Wrong Guy, 'Want Ads' for people like "Girl/Guy with multiple personality seeks meaningful relationship with midget. Call Dave, Druscilla, Steve, John, Larry, Liz, Robert, Nabeel, or Frank, at ..."), each bit around five minutes long when aired (only round three times). I'd get the tape back from the station after they had played bits from it, and when the 90-minute Maxell ran out of free space I just started recording over it. I know, I know! Years later I figured that I'd done nothing worse than the BBC, ABC/CBS/NBC etc with the early TV show footage, but it's still lost forever except in the tape machine in my brain. So YES, record @#% everything. > Having a solid grasp of these things makes it a lot easier to identify > when I am doing "the same old thing", and having recognized it, be able >to > make a conscious choice to change (or not) what I'm doing, as well as be > able to consciously choice to go outside of that palette or remain in >it. > In this way, the palette itself grows over time. Great point again. As a listener I find particular irritation in a guitarist when I detect the reuse of chops, and it reduces the enjoyment of the performance as well as the artist, depending on how dense the reuse becomes. As a player I try to remember the same, so this one goes up on the wall with my Uncle Sam "I want you to practice every day!" poster. > BTW, I don't believe that "not repeating yourself" is always a good >thing. > But I do believe that it is always a good thing to know your own playing > well anough to realize if/when you are on "autopilot", and knowing this, > to be able make whatever is the appropriate choice for you at that >moment. Perhaps one way to avoid this problem is to keep looking for That Sound. Thanks George! > > -George > > > ----- Original Message ---- > From: Per Boysen <perboysen@gmail.com> > To: Loopers-Delight@loopers-delight.com > Sent: Wednesday, November 12, 2008 8:59:51 AM > Subject: Re: What's experimental? > > On Wed, Nov 12, 2008 at 4:18 PM, Stefan Tiedje > <stefantiedje@googlemail.com> wrote: > >> Anyway, improvisation is the key for me, though its hard to learn not to >> repeat yourself... >> >> Stefan > > > It's hard to learn to unlearn. You have to try really hard to be > ignorant enough. > > -- > Greetings from Sweden > > Per Boysen > www.boysen.se (Swedish) > www.looproom.com (international) > www.myspace.com/perboysen > www.stockholm-athens.com > > > > > > > > >