Re: Re: Re: Circular Breathing: Live Looping

[Per Boysen <perboysen@gmail.com>]

Anyone that utilizes overtones on string instruments does the same
thing as the wind/reed player that uses his voice to sing into the
vibrating air pillar to bring it into overtone oscillation. "Relying
soley on technique" I here interpret as creating polyphonic sounding
audio from a monophonic instrument. Transformed to string instruments
this would mean making one string sound with several simultaneous
notes. That's actually a major technique to make string instruments
sound cool and most players do it.

A related technique for string instruments is to use acoustic feedback
from a speaker through the air. By moving the instrument in space
close to the speak the player can manipulate the overtones that
gradually evolves in the process (check out Stanosaur on this list,
and others). Such overtone implying feedback can also be magnetic, as
if using an ebow or sustain pickup or mechanic as if using a physical
Sustainiac clamper on the instrument's neck.

For monophonic reed/wind instruments I see the musical need for these
extended techniques but most string instruments have more than one
string and are already designed for polyphonic playing. So with string
instruments these techniques rather become an expressive effect than a
tool for tonality.

per


On Tue, Nov 29, 2011 at 3:34 PM, sylvester malik
<sylvester_malik_evidence_studios@hotmail.com> wrote:
> I wonder if there are any other folk that do this sort of thing on 
> guitar/bass/etc... Without actually using any loopers, but relying soley 
> on technique?
>
> Sylvester
> Sent from my BlackBerry device on the Rogers Wireless Network
>
> -----Original Message-----
> From: Rick Walker <looppool@cruzio.com>
> Date: Tue, 29 Nov 2011 14:08:10
> To: <looppool@cruzio.com>
> Cc: <sylvester_malik_evidence_studios@hotmail.com>; 
> <Loopers-Delight@loopers-delight.com>
> Subject: Re: Re: Re: Circular Breathing: Live Looping
>
> On 7/22/64 11:59 AM, Rick Walker wrote:
>>
>> His technique is nothing short of astonishing and no effects.
> This topic also reminds me that the late and wonderful Dr. Richard Zvonar
> used to tour with Jon Hassell.     He told me that Hassel could get the
> same sound that
> he got on his records (save those harmonized parallel  4ths and 5ths)
> acoustically.    He told me this just as I was trying to learn how to
> play trumpet as
> a found sound instrument.   Knowing that sound was possible opened up an
> entire
> world for me of breathy trumpet playing and overtone manipulation.
>
> rick walker
>