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Looper's Delight
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What a stellar post.........thanks for the thoughts! They are very thought provoking. rick walker On 7/22/64 11:59 AM, Dustbunnies wrote: > 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.