RE: Strategies for Hiding a Loop

[phillip wilson <phillwilson@hotmail.com>]

amen to that,

I use a mix of live sequencing and more traditional audio loopers, it tends to be that my Midi sequencing is always done in a 4/4 meter so I tend to run my echoplex to grab moments to build into beds using meters like multiples of 5 and 7 ...its nice because this underlying audio loop is always in sync, but never in a static relationship to the main loop.

 

> Date: Tue, 8 May 2012 22:06:53 -0700
> From: looppool@cruzio.com
> To: mattdavignon@gmail.com
> CC: Loopers-Delight@loopers-delight.com
> Subject: Re: Re: Strategies for Hiding a Loop
>
> Most excellent post, Thanks Matt!!!
>
> On 5/8/12 9:56 PM, Matt Davignon wrote:
> > You got most of mine. I know of a few more:
> >
> > 9) Paint over the seam: This is so simple and probably so common it's
> > almost not worth mentioning: on the second pass of the loop, record an
> > event that occurs over the start/end point. This works best for
> > non-rhythmic loops. It won't change the perception of repetition, but
> > it will help obscure the start point.
> > **
> >
> > 10) Loop in an unexpected multiple: This works best with rhythmic
> > playing. In most Western music, people expect patterns to occur in
> > multiples of 2. (Events occur in songs 1, 2, 4 or 8 times in a row,
> > but rarely, say, 5 times.) So, instead of recording 2 or 4 measures of
> > your rhythm in a loop, try recording 3, or 5, or 12 measures.
> > (I do this in the track "Mold" on the cd "Living Things" - the loop
> > represents 3 repeats of the perceived pattern, where the ear expects
> > it to be 1, 2 or 4.)
> >
> > 11) Keep loops minimal& complete them with live elements: The more
> > predictable events there are on a loop, the quicker it wears out its
> > welcome, I think. For example, if someone has a drum loop where
> > there's 16 layers of kicks, snares, claps, toms, hi-hats, crash
> > cymbals, cowbell, shakers, etc, it's only going to take a couple
> > repeats for it to sound canned. On the other hand, if your loop
> > includes only the basic kicks and hi-hats, and you play the snares and
> > occasional accent kicks free-hand, you can get it to sound much more
> > lively.
> >
> >
> >
> >
>