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Re: The different sides of loop music

> However, I do feel that there's a fundamental difference between what
> nearly all of the above areas relate to as opposed to what most of this
> list deals with.  In essence, most loop-oriented music that's emergent in
> popular music is based on sampling already-existing source music and then
> re-contextualizing it (or not) in order to produce a new (or not-so-new)
> end product.  It's a very studio-oriented endeavor, which involves
> sampling the source, probably tweaking and filtering the original sample,
> editing the length of the sample, assigning it to a sequencer for
> triggering, and then possibly blending it into a sonic collage with a
> myriad of other sounds and instruments. 
> The difference between that approach and the Big Three is that the 
> JamMan/Echoplex/Boomerang are specifically designed as real-time tools, 
> which excel at creating and editing loops right then and there, in the 
> same moment that the music is happening.  Moreover, they're geared less 
> around sampling music that already exists, and more towards acting as a 
> conduit for sculpting new music that wouldn't exist without the 
> of the unit's functions.  Traditional samplers capture music that's 
> already been made; loopers help create music in the here and now.  (This 
> is of course a bit of an over-generalization).
> Any other thoughts?
> --Andre

I was under the impression that people like the Orb and even some people 
this list use both approaches at the same time in live performance.
Supposedly, the Orb feeds their studio-created loops through live signal
processing equipment in their shows so no two performances of their music
sound the same.  For example, they'll take a loop and add some delay or
flange or whaterver to it while fiddling with the knobs and other controls
of their effects devices in real time.  

On the other hand, I have no idea if they feed thes pre-made loops into
looping devices to make even more loops live.

Paolo Valladolid
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