Re: Some questions for you 'groove based loopers'

[Diarmuid Pigott <diarmuidpigott@gmail.com>]

Can suggest that all respondents explicitly give research consent. Having just finished a doctorate and seen other postgrads come unstuck because of this (it's called ethics permission) now would be a good time for everyone who responded to explicitly state "I consent to these questions being used in a research publication, and understand the implications of this consent"

I know it sounds a bit lame, if it's not done, it only takes a grumpy examiner having a bad day to toss out superb research because it wasn't done. I have witnessed this in Aus, and been told of it in Uk, Ca, Us, Be, Nl. 

On 5 Dec 2014, at 2:15 am, Clement Rooney <c.s.rooney@gmail.com> wrote:

Thanks guys. Great stuff! 

For those who could still have something to contribute, please do not hesitate! 

Very best,

On 3 December 2014 at 21:31, Daniel Thomas <danielthomas4@mac.com> wrote:

Love these Qs!

My shares below…

-Using production techniques on stage is still a relatively new craft, how do you deal with controlling levels and panning etc.? 

Currently selected Loop Track is mapped to a PAN and VOLUME controller (in my case,  _expression_ pedals) 

But most importantly, I build looper track levels and pan positions so that what goes in comes out “premixed.”   I seldom touch my _expression_ controllers. 

-What other production challenges do you commonly face?

Managing live microphones can be a real challenge in a looping context.  I have mapped CCs to unmute the mic channel during recording and to immediately mute it when not. 

Getting set up can be a challenge.  Less is more.  Simplify the rig. 

-If Improvisation is a part of your sound, what are the challenges when improvising on an instrument of so many possibilities? Do you set yourself limitations to help create a coherent sound?

Dynamics.   Static EDM parts get boring (for me anyway).    For live audio loops, I have been using a variety of manipulation techniques to create dynamics change over time.  Turnado is a cool plugin for this purpose.  Also, many looping platforms provide cool tools like Slice, Shuffle, Rate Shift, Quantize Replace..  etc..  these techniques can add a lot of color and dynamic change to a static loop.

Similarly, I loop midi data in BFD (a drum machine plug) and control the dynamics and busyness of the drum groove with a VECTOR control mapped to the BFD Master Dynamics and Simplify controls.  This is turning out to a be a really cool new part of my workflow…  I can use my foot to cool the drummer’s jets…  Or heat them up..  way cool.

 

-What sort of preparation goes into a set?

I use a single Ableton Live Project File that is preset to handle all songs in the set.   In Mobius, I have tracks dedicated to different kinds of looping workflow.  One for traditional groove looping, another for Quantize Replace Looping, Another for Loop Windowing, etc…  each of these tracks is then routed to a dedicated channel strip in Mobiles with Dedicated FX plugs.  In this way, a single LIVE project file can host an entire set’s worth of workflows and I need not spend down time loading new Projects between tunes.  

-Do you try to create climaxes at certain points in a set? If so, how?

Dynamics Control via-  Turnado (for audio Loops), Breakdowns via Mute, Fade, etc., Copy/Pan/RateShift scripts, etc...

-When you are performing, how do you read and interact with the crowd’s response to what you’re doing? Are there any specific musical characteristics that people respond especially well to? 

Audiences love it when I stare incessantly at my MacBook while swearing under my breath and soaking in flop sweat.  Not really, but haven’t we all been there?  

Stage presence + Live Looping can be tough..  especially if the loops are exclusively produced live.  Practice Practice Practice.  I practice my workflow for a given looping strategy (in my case, all footpedal driven)  until I can do it without thinking about it. (yeah, right!) I have yet to become "Lord of the Pedal Dance.”

Are there any specific musical characteristics that people respond especially well to?

sChanges in Pattern draw folks in.   Delayed anticipation of the V chord.   Breakdowns, skeletization of the main groove.  All the normal musical tricks work...  

-Whilst performing, what sort of things do you consider when you are moving to new material?

Audience Engagement -  where are they at?  Dancing, Eating?  Running for the door? 

Tempo / Key

Target Looping workflow (Quantize Replace?  Live Groove Loop?  Ambient Pad?)   I will often use an ambient pad workflow to segue, especially if I want to change tempo.

-Were there certain genres or artists that inspired the making of your instrument?

The usual suspects-  Jeff L, Per B, Bill W, Rick W, Simeon H, and many other amazing artists on this list.    

-What advice could you give to someone just starting out in groove based live looping?

Less is more. 

D

On Dec 3, 2014, at 10:56 AM, Clement Rooney <c.s.rooney@gmail.com> wrote:

Dear Loopers!

Hi, My name is Clement Rooney and I'm studying the Live Electronics MA at the Conservatorium van Amsterdam. I'm building my own (EDM influenced) looping setup using Ableton and M4L and I'm basing the written part of my degree on this experience. 

What I call 'groove based live looping' is the realtime manipulation of one-shot samples in a meter but please let me know if you think there is a more suitable name for this.

I suppose these questions are aimed at software based looping artists who most likely, use beats and have a background in EDM. But please, if you feel you have something to contribute, let it be known!

Not all of the nine questions may be relevant to you, so feel free to leave those questions unanswered. I should also add here, that I will not publish anything without your express permission. As it stands, this is an academic dissertation. 

Please reply on this thread or to me directly at c.s.rooney@gmail.com

All the best,

Clement

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-Using production techniques on stage is still a relatively new craft, how do you deal with controlling levels and panning etc.? 

-What other production challenges do you commonly face?

-If Improvisation is a part of your sound, what are the challenges when improvising on an instrument of so many possibilities? Do you set yourself limitations to help create a coherent sound?

-What sort of preparation goes into a set?

-Do you try to create climaxes at certain points in a set? If so, how?

-When you are performing, how do you read and interact with the crowd’s response to what you’re doing? Are there any specific musical characteristics that people respond especially well to? 

-Whilst performing, what sort of things do you consider when you are moving to new material?

-Were there certain genres or artists that inspired the making of your instrument?

-What advice could you give to someone just starting out in groove based live looping?

--

Clement Rooney

07887611183