Re: Exploring new Loooperlative features

[looppool@cruzio.com]

>>  > Mech wrote:
>>>  It's simple: record a line, then (for example) drop it down one
>>>  octave.  This will slow the loop to half-speed at the same time.
>>>  Now, run it through a pitch shifter, and transpose back up an octave.
>>>  This will restore the loop to its original pitch, but it will remain
>>>  at half-speed.  Obviously, other pitch/speed transpositions produce
>>>  different results.


On my last CD of abstract electronica (which came out at a very tough time
 for me emotionally, so I never put an ounce of energy into promoting it),
 'Purple Hand',
I did a piece where I used one single guitar note (a mildly distorted note
from a Telecaster)
to create an entire piece of music (except for the drum track).

On that track,  there is a screaming sound  that occurs that I created by
taking the note and pitching it up an octave and doubling it's length in
my audio
editor (Sony Sound Forge)  7 times in a row and then taking the subsequent
sample
and pitching it down an octave and halving it's length 5 times in a row,
so that the
resultant sample was two octaves higher than the original sample with the
same length.

Each time I processed it  (12 times in toto)  the processing added
artifacts to the original
sound.   By the time I finished, the original sound was unreconginzeable
as a guitar sound
and yet it had the same fundamental pitch information.

I love this:     processing pitch over and over so that it adds weird
artifacts.

I use two BOSS pitch shifters now.........pitching a sound up two octaves
and then pitching that sound down two octaves so that it is the same pitch
and duration as the original sound with
tons of artifacts added on.

The new Looperlative with additional pitch shifting abilities just adds a
ton of new goodies to
add to the looping stew.

Then one can sit back and, as I've done on my new Ground Control midi 
pedals,
program a bank with the Indian Rag,  Bhairav into it
(1 octave down,  b2,  maj3, 4, 5 b6,  maj7,  8va) so that I can play 
melodies
taken from an initial ambient track  that is , nonetheless, possessing a
single
fundamental sine wave.

The trick is, like the great Hammond B3 players,   coordinating an
ostinato bass line with the feet whilst soloing over the top of it all.

Ahhhhhhh,  even more practise to come.