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Re: my future looping....
I certainly agree with what your both saying and often practice that
approach. However, I still think it's valid to understand the process
that others use. Isn't that part of what this list is about. It's not
my intention to try to mimic the sounds I'm hearing but to use every
trick and tool available to me to create something that allows me to
advance my own playing. The approach used on the piece I was referring
to is of particular interest given that the loop is under 4 seconds (the
limit of my delay). The other interesting aspect is that one person was
playing an instrument (could have been any sound source) while the other
person was playing with the signal. I believe that results in an
interesting dynamic that I don't recall being discussed much on this
list. Most of us talk about looping our own signal (whether it be a
sample or an instrument)and tweaking the loop.
I know that many of you loop in group settings. Do you loop output from
other band members with/without your own. If so, do you take these
loops in terms of measures or random snathches of sound to fly back into
what your doing.
I'm not asking to be shown how to do this but rather to stir the
cauldron and see what comes up. It beats trying to figure out if Phish
is more original than Zappa ;)
Kim Flint wrote:
> At 04:35 PM 7/29/98 -0400, Frank Gerace wrote:
> >>Dennis Coggia wrote:
> >>>I second the motion for listening to even more of other peoples work.
> >>>It's like getting an education which is surely need in the present
> >of the music world. ...
> >>Listening to others music is great but sometimes it can be very
> >>difficult to understand how that music was created. Understanding
> >>another persons creative process can provide the kernel for each of us
> >>to add another approach to our own process no matter what level we are
> >>performing at.
> > Sometimes its just a valuable to have no idea whatsoever about
> >something is created and try to figure out a way to do it yourself.
> >results in finding a way for you to do something that you have
> >you may find out later that your preconceptiuons were in error, but you
> >managed to do something creative all the same.
> > By not knowing how something is done, you have to use your
> >imagination and engage that in conjuction with the toys at your
> > So listen to lots of stuff, the more varied the better. than
> >do what you think you want to do with your music woithout being
> >with how others did their stuff.
> perfect, I was about to say the same thing. Listening to other music is a
> great education. But you need to be careful that you don't come away
> with just another set of licks or rules that locks you in.
> For me the best thing to do is to listen to some new sort of music and
> to remember the way the music feels while you listen to it. Then turn it
> off and go do some other thing for a while so that the specifics of it
> your head. Then later, pick up your instrument, and try to create
> that "feels" like whatever you were listening to. Don't recreate the
> necessarily, but the feeling/atmosphere/whatever about it. This is hard,
> you will certainly fail miserably at first. (I always do...) After a
> though, you will begin to create stuff with that new feeling and begin to
> understand how to do that. The important thing is you will be doing it in
> your own way, and not through regurgitating someone else's ideas without
> real understanding of them. In fact, it's always a good idea to listen to
> music that doesn't even include the instrument you normally play so that
> are forced to rethink things and adapt things.
> The next step is to take that "feel" you've added to your vocabulary, and
> bring it back to whatever you were doing before, and mix it all together.
> Makes a huge difference....
> Kim Flint, MTS 408-752-9284
> Chromatic Research email@example.com