Re: "Live Looping"

["L. Angulo" <labalou2000@yahoo.com>]

Allright so explain this ti me, if it can be called
heavy metal why canīt it be call fuzzbox or distortion
music?

Sarcasm mode = out of order

Louie


> Hmmmm....... let me see.... naming a genre of music
> that requires specific
> capabilities derived from any of a number of devices
> that is used to create
> the music.... I have it!!!    FuzzBox Music!!!
> 
> Sarcasm mode = off
> 
> Is there such a thing as wah-wah music??
> 
> I have sympathy with the desire to have something
> that consolidates music
> with loops in it, but if you can find a term that
> will cover Classical,
> Opera, Jazz, Rock, Hip-Hop, Country and Folk, then I
> definitely want to know
> it!
> 
> David
> 
> 
> ----- Original Message ----- 
> From: "Mark Hamburg" <mark_hamburg@baymoon.com>
> To: "Looper's Delight"
> <Loopers-Delight@loopers-delight.com>
> Sent: Sunday, April 11, 2004 6:36 PM
> Subject: "Live Looping"
> 
> 
> > I've been pondering Andre's departure while away
> from my e-mail for a
> week.
> >
> > Andre may or may not be uncomfortable sharing a
> genre with Matthias Grob
> and
> > Rick Walker, but I think there is a fair amount of
> overlap and in ways
> that
> > are distinct from a singer-songerwriter using
> loops on a DL4 for
> > accompaniment and in ways that are pretty distinct
> from others I've heard
> at
> > looping festivals such as Richard Zvonar, Matt
> Davignon, or Amy X Neuburg
> > (who are all relatively distinct from one
> another). I think that
> similarity
> > is potentially apparent to people who aren't
> familiar with the technology.
> > Andre is more aggressive and less ambient in his
> playing than some but
> there
> > are some core similarities stemming from a musical
> style that grows and
> > evolves the music as the audience listens.
> >
> > But that's where I think the "Live Looping"
> movement got itself in
> trouble.
> > There is an aesthetic similarity, but I don't
> think I've ever heard anyone
> > express what it is. This leaves us with "Live
> Looping consists of people
> who
> > use loopers live". But that includes the
> singer-songwriter with the DL4
> who
> > doesn't think of himself as a live looper per se.
> As Kim (I think) has
> > pointed out, it makes knowledge that something is
> a looping event be about
> > as informative as knowing it's a guitar event or a
> trombone event.
> >
> > So, to really be successful as a promotional tool
> -- which I think is the
> > basic reason for trying to define a genre -- there
> are a couple of things
> I
> > think should happen:
> >
> > 1. Someone needs to come up with a definition of
> the aesthetics and
> > experience from an audience perspective.
> >
> > 2. The name needs some consideration. If there is
> real audience knowledge
> of
> > live looping then that name may be worth keeping,
> but it also carries with
> > it the problem that to use a looper live may not
> make one a live looper
> per
> > se. Mark Sottilaro and I started toying with the
> name "Cycletronica" last
> > time this came up. He seems to have done more with
> it than I have.
> >
> > I've also been thinking about Loopstock and
> wondering whether the
> > potentially anemic showing in Los Osos is
> symptomatic of a bigger problem.
> > Maybe it's just that like me other people have
> schedule conflicts. I'm
> > trying to resolve those conflicts, but I haven't
> managed to do so yet.
> >
> > Or are Andre's frustrations taking hold at a
> broader level? I've found the
> > festivals extremely valuable to me as a player
> because without them I
> > wouldn't be playing publicly. But I've also found
> them a bit frustrating
> > both as a player and an audience member. For
> example, as a player, I
> become
> > paranoid about getting my rig into a form that
> will set up and strike very
> > quickly. That probably results in some useful
> focus and keeps me from
> > spending a performance playing with too many toys,
> but it is also a bit
> > stressful. And I really would like a soundcheck
> though the audience
> > presumably wouldn't. As an audience member, I find
> it annoying when others
> > haven't worked as hard and the festival turns into
> a festival of technical
> > difficulties. (As a performer, I can think "there
> but for the grace of
> God"
> > but that wouldn't cut it if I were just an
> audience member.)
> >
> > Is it time to evolve beyond the marathon festival
> model? To what? How do
> we
> > keep bringing the community together without the
> stress level burning
> people
> > out?
> >
> > Mark
> >
> 


=====
www.luis-angulo.com

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