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On 1/24/11 12:02 AM, "Sjaak Overgaauw" <tcplugin@gmail.com> wrote:
> On 1/22/11 2:51 AM, Louie Angulo <louie.angulo@googlemail.com> wrote:
>> I know for us guitarrists is maybe not always that important, but
>> Sjaak does beautiful dreamy synth soundscapes where space and dimesion
>> is crucial
>
> Good point, that's exactly why I need stereo loopers.
Continuing on this line, I think that there are two other good reasons why
someone might wish to maintain stereo throughout a performance.
The first is if the phase-cancellation and 'lost parts' that Bill mentioned
are actually a necessary element in the performance. I've put together
pieces using lots of moving delay and reverb, and the most compelling
effect
from this is listening to the harmonics that drift in and out as different
frequencies in the mix cancel each other out. Many times this can (and
hopefully will) cause movement not only in the standard L/R stereo spread,
but also along the Up/Down vertical axis and the Back/Front "Z" axis of
depth.
This was, as I understand, one of the reasons behind some of Glenn Branca's
'deafening wall of guitars' drone symphonies. I've read reports from
people
who had seen the performances live, and have heard it said that the albums
and recordings just can't do them justice. In a live setting, you
evidently
could hear different harmonics and notes flying back and forth across the
room -- not only left and right, but also above you and in front or behind
you -- swooshing all around in waves.
For looping artists who depend on this sort of harmonic interaction (I'm
guessing Sjaak may fall into this category), stereo is an essential
element.
The second reason has to do with the performer themselves. For instance,
everybody knows that musicians in the studio (vocalists especially) usually
have a set of effects put on the feed to their headphones while they're
laying down tracks. Generally, this 'sweetening' gives the musician a
sense
of how great they can sound and helps to eke out the best possible
performance from them.
Likewise, being able to hear yourself play onstage and go, "wow, I really
sound good" can be a real boost to one's performance. And since we're
talking about live improvisation here, every little bit helps. Even if
some
people in the audience miss the 'sweet spot', is it better to collapse down
your sound and give a technical and uninspired performance that everyone
can
hear equally well? Or is it better to 'play big' with the understanding
that stuff's going to be bouncing all over the room, and that the sound
guy's going to hate you by the end of the night? ;)
--m.