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Ted you hit it!
it reminds me of the live looping piece called "Buscando Paz" which is
in youtube i did at the looping festival in Antwerp Belgium,it was the
first time i ever did any beatboxing at all and one of my dear friends
made sort of a dissaproving coment cause he thought i was using
precanned loops;-))
ive used drum grooves from my adrenalinn slaved to my EDP playing in
pubs doing my own cover version of some acoustic tunes,i try to tweak
the drums and distort them so they dont sound to sterile and is quite
fun,i also used to use an MPC1000 which i actually used at a looping
concert i did here in germany.
But ive always been shy of doing this type of sync looping at a
festival,somehow the tone has never been too positive here;-)
On the other hand i see plenty of beat boxing looping lately!
for me it all boils down to the quality of sound,I remeber seeing
Margaret Noble performing at the SC loopfestival with an analog groove
box (i believe a Jomox),and i thought her performance was killer.I
also really enjoyed the groove samples Michael Peters used at the
Antwerp festival.
A few times ive mailed this list about syncing to drum machines,wanted
to get more into the midi sync side of it but i have a feeling not
many are into it.
Dont get me wrong,using accompaniment drum loops from an RC-50 is not
really my cup of tea either but i love rhythms used with looping,if
they are canned or not and if they sound good and are unusual and cool
and you are using them to enhance your loops who cares.
So if anybody is doing cool stuff with precanned send some links!
cheers
Luis
On Sun, Jan 16, 2011 at 4:09 PM, Rainer Straschill
<moinsound@googlemail.com> wrote:
> 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
>
> --
> http://moinlabs.de
> Follow me on twitter: http://twitter.com/moinlabs
>
>