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I tend to agree with Anders here, that it surprises me that so few list members are utilizing sequencing techniques. This because sequencing technique relies on the same craft in applied music theory as a lot of the minimal art music and progressive rock by for example King Crimson. The Electron seems very cool to me, but I'm not sure I need all those functions for live work. It seems to be a modern "MPC on steroids"! Not sure I would be able to make use of all its features for live work though. In fact, my own most successful periods in live music making has happened when I have reduced my options to a handful gestures at hand. The ability to perform is vulnerable to the balance between being able to keep a flow over time in the instant composing process and having powerful sound shaping tools. I look at much of my live looping in Mobius as "sequencing techniques". My "palette" is a number of optional "grids" I can apply to a number of bars and each grid is like a sequence - but it lets through live played source audio to be sampled into a loop (rather than driving source audio as the synthesizer sequencing). So the process is: 1) Chose and apply a "sequence grid" (Mobius script at hand). 2) Make some source audio on your instrument. 3) By adjust a fader for "Secondary Feedback" your control how much of the earlier loop layers will be replaced by the new audio coming in through the grid. With this technique you can effectively build up machine tight sequences in seconds from any live played audio instrument or noise. BTW, here a simple example of this "grid sequencing live looping" in the form of a Mobius flute improvisation: http://soundcloud.com/pboy/going-fishing-20090524-1312 Greetings from Sweden Per Boysen www.boysen.se www.perboysen.com www.looproom.com internet music hub On Fri, Aug 5, 2011 at 3:14 PM, Anders Bergdahl <anders_e_bergdahl@hotmail.com> wrote: > I totally agree, of course, that sequenced loops, midi loops and similar > is > some sort of looping. However in this community there is an emphasize on > "sound on sound" looping that is done by pressing start then stop to > define > a base loop and then overdub and manipulate... The octatrack does not > work > like that, yet. However this type of more "DJ" style workflow is a very > cool > thing as well, perhaps together with "traditional" looping. The thing > that > some times surprises me is the lack of interest for the sample looping > that > octa track can do. It's more like Abelton live than Mobius so to speak.. > And > i seldom see the software guys live sampling in Abelton (I assume that > it is > possible) there also seems to be very little use of sequencers and i > don't > really understand why... > Regarding "manual looping" i see it as striving for some of the same > goals > (minimalist style music) as SOME looping, perhaps it's better to refer to > "manual looping" as minimalist music. What connects the LD community is > use > of soft or hardware for music creation in, more or less, real time. This > music can, but does not HAVE to be, minimalistic. > If you listen to much of the Techno style music that most Elektron users > seems to be into there is most definitively a live element. Even when the > use drum machines and sequenced synths they quite often perform live sets > where patterns are made and edit live.. so it is, for me live looping, > but > without looping live sounds. Instead the produce sounds and edit them as > a > part of the performance. > > I think Kim Flint was interested in this Sequencer style looping and > hoped > to see it used with the more "traditional" looping and I'm kind > of surprised that there is so little of it. Or do I miss something > here... > The sequencer based pattern music definitively owes a lot to minimalist > music. They just choose to generate all sound from synthesizers and > samples > ,instead of looping guitars, keyboards or other traditional instruments > to > some evolution of a tape loop, they work with sequencers. And again i > find > it strange that we don't see more loopers using sequencers. To me it > seems > like a very natural development. Working with insert on the EDP is a lot > like using the sequencer on the octatrack, it's rhythmic sound > manipulation > in real time set within in some set "beat".. of sorts > Sorry for being long but i find this interesting.. > Anders > ________________________________ > From: gtmatthews@gmail.com > Subject: Re: MUSIC - "D Torn Kaisers Aars E.T." tríbute to some heroes > Date: Fri, 5 Aug 2011 08:28:24 -0400 > To: Loopers-Delight@loopers-delight.com > > Yeah there were some people I saw doing that when I was living in LA that > would strum electric guitar over and over with and after a bit your ear > would focus in on the changes of the harmonic content above the > repetitive > notes or creating patterns in your mind forming out of the non-machine > like > rhythms. I would go with minimalist since there isn't overdubbing. > On Aug 5, 2011, at 6:29 AM, Per Boysen wrote: > > A related OT: > A sort of grey zone I've been thinking about a lot lately is when > loops are played manually. I mean, instead of recording a part into a > machine that plays it back you just keep on playing that musical part, > with your instrument, over and over, like a looper. While the point in > using a looping device is to give a repeating pattern a machine-like > exactness the point in manually playing the loop is the opposite, to > achieve an organic inexactness for a monotonic content. Isn't this > rather to be described "repetitious music" or "minimal music" than > "live looping"? > > Greetings from Sweden > > Per Boysen > www.boysen.se > www.perboysen.com > www.looproom.com internet music hub > > > -------------------- > Todd Matthews > toddbass.com > twitter: gtodd876 >