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Re: Looperlative - Max Time?

kim wrote:
"....with people who are serious about looping and have been doing it for
some time, they usually are performing a whole process with loops. Building
it up, taking stuff out, manipulating the loops, changing the loops,
evolving it from one thing to another. There is not some static point where
you would save something. "

I agree with you there, kim,  but on my last long tour,  I saved my 
loops onto my Repeater and now am having a lot of fun going back
and using them as Ur loops in new compositions (which are not
real time), completely out of the context with which they were made 

I personally love going back and forth between using loops in a dynamic
way in concert and using them in a more 'step dynamic' building block way
in computer composition.

In fact, I tend to alternate between live looping recordings and more 
oriented compositional recordings.    I think the best thing I ever 
Purple Hand which although not a live looping recording is, nonetheless, 
completely influenced
by not only what I've played in a live looping context but also by what 
heard others do similarly.

A lot of times I think of my live performances as a labratory for my later 
more formal compositions
(this is also true because I'm such a limited instrumentalist on so many 
the instruments that I 'play'
so I have to take time to learn and record my parts to be up to par with a 
commercial release.)

Consequently,   the ability to save loops is a really desireable feature 

A lot of times, and I don't know if I'm alone,  I'll listen to a live 
start layering a track in concert
and get to a point where I truly wish they would go in a certain direction 
with it that they don't.

I've always longed to have a very compact digital recorder to capture such 
away,  make a piece with the 'stolen' loop and return it to the artist as 
possible collaboration.
<chuckle>  I know that's hopelessly narcissistic but I'll bet a lot of 
artists have similar feelings listening
to some of there comrades live.