Phil Keaggy on looping

[Travis Hartnett <tiktok@sprintmail.com>]

>From the Q&A section on PK's website (www.philkeaggy.net):


Phil, I was first exposed to "looping" at one of your concerts here in 
Michigan        a year or two ago and was really excited by the 
possibilities that it offers creatively.  I was wondering what advice you 
could give me on getting started with the "art" of looping.  I'm sure 
practice is the biggest thing, but I'd appreciate any tips to help a 
novice "looper".  
Dave Clarke 

Hi Dave.... Aside from practice, I think the best thing you could do is 
practice.  And if that doesn’t work, I’d suggest maybe practicing. 
Because you get        good at what you do over and over again.   - Phil 
Keaggy

*****

Thanks for taking these questions.  I'd like to get into looping, and 
thought I'd        ask you since you know what you're doing.  I’d be 
using it for mostly for        live worship songs, being able to layer 
some instrumental interludes over        chord progressions.  - Mike 
Magnussen

      

      Hi Mike.... If you’re doing live worship songs, then I wouldn’t 
even worry about looping machines.  Because live worship is about 
spontaneity, unless you’re doing it all by yourself.  If you’re 
working with other musicians, don’t let that dictate.  It should never 
take over you’re playing with other people.  I        use a Jamman and 
the Line 6 DL4 because I’m the only musician on stage.         In the 
studio I’ve used it if I’m the only one there.  If you’re working 
with other people, you don’t need a Jamman, you don’t need a looping 
situation.

      

 The thing about looping is that it can take your mind off of what 
you’re supposed to be doing up there for God.  It can cause you to 
focus too much on your technique, that’s the downside.  For example, 
last week I did a concert where I plugged directly into the house.  I had 
no looping, no chorus, no echo, no delay.  And it caused me to 
concentrate on performing and giving my music to the audience in it’s 
most bare form.  And I was blessed in doing that.  

Let me put it this way – I saw Tommy Emmanuel play one time at an All 
Star Guitar Night show I did.  Tommy plugged into the house, and nothing 
else, and he totally captivated me and the audience.  I’ve seen 
Laurence Juber do the same thing, with nothing else but his guitar in his 
hands.

I’ve been a trickster all my life with my guitar, I’ve always used 
effects.  I was        using effects with Glass Harp back in 1968, 
Echoplex and Wah-wah pedals,        and I’ve not stopped.  But I am 
most impressed with someone who can make        beautiful music without 
any tricks.

The Jamman thing is a fun thing, but it’s mostly for the player. It’s 
fun, it’s creative, but it’s not essential.

God Bless,
Phil Keaggy