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Re: feedback/features/new loopers...Multiply

a k butler wrote:
> Steve wrote about looperlative
>> with it the way it is, you can do everything that rounded
>> multiply does
> Hey Steve, it's great of you to promote Looperlative,
> which is a very interesting product.
> ...but I think perhaps that statement is very misleading.
> Hopefully it's going to be possible to find ways of duplicating
> a great many of the EDP techniques to create musical structure
> using the Looperlative 8 loop architecture. However the Multiply
> as you describe it is nothing like that of the EDP.

Maybe it would be worth to consider the Looperlative as something 
different than the EDP. I guess there is no need to replace the EDP. It 
seems a lot of you have two EDPs. Maybe replacing just one EDP with the 
Looperlative would open up complete new perspectives, as you can use 
both for different tasks...

There is a story with this statement. Whenever I come across an 
alternative for whatever tool, for example a sequencer, I usually do not 
like the new tool until I see somebody playing it in a way I would never 
be able to do so with my preffered tool. (And the other way around.) 
Things which are dead simple with the tool I know are complicated or at 
least different than I am used to it. I just don't know whats 
complicated with my tool, because I like it simple, I don't use it in 
the way I could.

At CCMIX we still have these old UPIC machines designed by Xenakis way 
back in the 70's. If you wanted to do synthesis like you're used to do 
with known keyboard oriented (digital) synths, you could do it, but its 
really very complicated, but if you wanted to have a graphical 
representation of a score sounding directly like its drawn (witin a 
pitch and time/rythm continuum) its very straight forward. Its 
absolutely mindblowing and opening to get in touch with such a beast. It 
completely changes the way you think about composing.
But it forces you to think different! By letting known strategies just 
fail. If you made this experience you imediatly try to do things like 
that with your normal tools and realize that it is probably possible, 
but very complicated.
But now after opening your mind you become aware that a lot of musical 
decisions were defined by the tool and not by your concious decision. 
After that you can go back to your known tool and newly decide if you 
really want to do it the way you always did it or take the challenge and 
go new paths though its more difficult. Or use a different instrument to 
have a different perspective to do music a different way.

Joe Zawinul learned to play the keyboard backwards, just to get rid of 
old habits....



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         Stefan Tiedje
     Electronic Composition

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