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Looper's Delight
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I was rereading a very creative email I got from our own Dust Bunnie's chronicling of some creative uses of Looperlative combined commands (the LP-1 allows for a single midi button to control up to 8 sequential functions) and I thought it would be cool to have everyone write in with their most creative and idiosyncratic setups for the Looperlative. I'll post one of mine to start and below that I'll reprint Duke's creative approaches. Rick Walker _* ERSATZ MELLOTRON effect*_ (in Looperlative LP-1) 1) Scroll to assign Midi/User button, hit enter (display will now read 'hit Midi button') 2) Tap Midi button #1 3) Scroll to any desired Interval (chromatically over one octave) these commands are at the end of the scrolled menu list added, graciously, by Bob Amstadt at my request. 4) Push Track #2 button on faceplate 5) Scroll to RETRIGGER 6) Hit ENTER 7) Hit Midi button #2 and repeat steps 1)-6) for up to an entire Scale of your chosing. On a typical set of Midi pedals there are 10 pedals. I assign Pedal numbers 1-8 diatonically from the low octave up to the original pitch assignment (I always reserve 9 and 10 for previous track and next track, respectively) In this way, I can always visually see what scale number I'm on for improvising melodies. Personally, I always have a bank of Minor Key 'Organ' pedals and a bank or two of exotic scales It is efficacious using this technique to _make a looped sound that is NOT chordal and that has a sharp transient at the start of the loop._ Because the sample lengths change, the transients help to make a kind of 'clicking' sound at the start of each note which sound more 'organesque' (wow, is that a word?) A cool, more experimental approach is to NOT include a RETRIGGER command in each midi pedal. In this way if you have a long but timbrally morphing single note on an instrument the pitch will change but the timbre will always be random as you will be changing the pitch in the middle of the loop. This technique is very hip but is not very useful for typical melodic uses. ************************************************************************* Okee dokee...............Here's DUST BUNNIE's very hip suggestions (thanks for the inspiration, buddy): * 'RED HOUSE' effect * (Looperlative LP-1) For instance, I put together a command that emulates what I call the ‘Red House’ effect (listen to ‘Two Soldiers’ or ‘The Red House’ from David Byrne’s “The Catherine Wheel” to hear what I’m talking about). With this one, the loop buffer starts to fill as long as I have the MIDI pedal depressed. The moment I let up on the pedal, it immediately begins to loop whatever was in the buffer. Depress it again, and the previous buffer is immediately erased and begins filling a second time. This allows me to tap the pedal quickly to capture very short looped snippets — or stutters — of sound. A slightly longer tap means a slightly longer snippet. If I tap several times while playing a line, it almost sounds like realtime granular, as the loop buffer grabs one ‘snapshot’ after another of what I’m playing. *'TIME STRETCH' effect* (Looperlative LP-1 using AUX outs and outboard Pitch Shifter) Another one I put together allows me to do time-stretch, in conjunction with an outboard pitch-shift unit on the Auxiliary outs (oh yeah, multiple outputs: there’s another feature not mentioned above). I’ll begin recording a loop as normal. Then I’ve a command that closes/plays the loop, assigns it to Aux Out 1 (where it’s sent to a pitch shifter set to +1 octave, then routed back into the LP-1), drops to Half-Speed, and starts a Bounce on the next track. This results in the recording of a time-stretched track that is twice the length, but at the same pitch as the original. I can also begin to get Repeater-esque degrade effects, dependent upon the crappiness of the pitch-shifter I’m using. Throw in some other effects (bit-shift or sample-rate degradation, synchronized slicing from the EF-303, etc.) and things can get pretty wild.