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Mark Hamburg schrieb:
> Okay. I don't use pre-recorded loops. But I think I am coming to
>appreciate why most of the loop pedals out there (the LP2 soon to be an
>exception) are so feature limited.
> [...]
> So, I've got the LP1 and it does all sorts of wonderful things and under
>pressure from Bill I've even jury rigged myself a MIDI foot controller (I
>now have a very confused EDP). What do I do? I record static loops and
>let them play. Maybe I throw them into reverse of half-speed. Maybe I
>turn on scramble. And I generally set up multiple loops often of
>different lengths. But after getting a few loops going and mixed, it all
>just becomes backing tracks.
>
> When does my Looper's Delight membership card get pulled? When do I stop
>getting invited to Santa Cruz to perform? ;-
Dear Mark,
first of all, I believe there's no risk of your LD membership card
getting pulled, or you no longer being invited to perform in Santa Cruz
- simply because I remember having a very long conversation to the
former CEO of/now senior consultant to the Santa Cruz festival as to how
he ever uses variable feedback ;).
(this is taken largely out of context here, so this should not be taken
as a general statement about Rick's approach).
I liked your description, simply because my personal loop evolution was
just the other way around: when I did the first loop things (in 1997 -
that's when I first subscribed to LD...), I was working with to rather
short delays. Now those had, like any delay, variable feedback, but I
never used it back then - everything was 100% (except perhaps for a
quick fadeout at the end).
The next steps were, not specifically in that order, Headrush, DL4, RDS
2001 and then Repeater. Now the Repeater has variable (secondary)
feedback, only same here - I almost never used that, and the same is
true for the early phases of my use of Möbius (starting in 2006 - I
remember that I was first completely puzzled by the "secondary feedback"
thing because I couldn't understand why anybody would want a loop fading
while it's not in overdub!).
Luckily, I had gotten a DD20 for my 2006 appearance at Rick's festival,
and as you may know, the looper mode in this thing sucks, but the long
delays are cool. So I was more or less forced to play with feedback
(which, with a delay, is of the EDP "primary" kind). And those
experiences ("hey, that's cool !") then led to me also using that with
Möbius.
[Self-plug here - you can find something in the guitar solo in the
second part of "Detlev on Drugs" from my "Weird Specialist" album
(2007): http://moinlabs.bandcamp.com/track/detlev-on-drugs - there's
both static audio and MIDI "backing track" loops (e.g. e piano, synbass,
drums and two or three guitars), before a guitar solo starts at 5:22 to
play with its own looper version, which gets reversed and halfspeeded
and multiplied in the process].
Ok, getting to the point:
The reason why those things that keep coming out are so feature-limited:
not only that for their most important use case (that being recording
layered performances), most musicians don't need the fancy stuff, they
wouldn't even know how to use it when you gave it to them.
So the plan for a company which already has those features or plans to
implement them would be to tell their customer base they need that, even
though they don't know what it is. It seems (and this is only from what
you can see from the description/video available) that Vox has found a
clever way of doing this, by putting all the odd stuff (e.g.
kinda-multiply, variable feedback) into the "resample" function and as
long as you don't use it, you have your
membership-getting-pulled-backing-track-looper.
Rainer
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