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Re: Live Looping versus using Pre-Recorded Loops

I must concur wholeheartedly. 
PRE-recorded looping is karaoke style looping. 
That is why I keep things so minimal. I'm aware of the pending trainwreck 
I will have if things get too fancy. 

I shy away from too much instrument looping too because the way a banjo is 
setup you are a bit hamstrung melodically from the get-go. (it's that 
short demon string). 

That is the first thing I have to do when I play is mute out all those PRE 
recorded rock drums that Roland felt in their infinite wisdom I could not 
live with out.  It's happened many a time. I'm getting my  punkgrass hyper 
2/4  jam on and I hit loop and some cheesy out of (my) time 4/4 rock beat 
comes on. 
I look like a clown!

I'm still new at this and probably should hold my tongue on this matter. 

Chaz Worm - singer, bass, banjo
Earth, Worm, &, Fire and
Electric Light Opry

On Nov 5, 2011, at 11:34 PM, Rick Walker <looppool@cruzio.com> wrote:

> Much is said about audiences not knowing the difference between someone
> hitting play on a computer that has complete tracks stored,  someone 
> playing over
> pre-recorded loops or someone who is looping everything in front of an 
> audience.
> I go to see a very wide variety of musical performances that use 
> technical augmentation, from ones that are completely
> canned (Fisher Spooner) to ones partially canned (a tremendous amount of 
> the
> big electronic shows) to artists who do all of their looping live in 
> front of the audience.
> My experience is that people really do get, viscerally, when someone is 
> playing something in real time
> that they loop and then play other things against (including other 
> loops).
> A couple of artists in recent years, who shall remain nameless,  have 
> only played in real time over
> loops or samples that were pre-recorded.   The energy of their sets was 
> really markedly different
> from the ones that didn't take this approach.    Of course, our loop 
> festival audiences are not typical
> but many people complained about these performances after the fact.   
> They bothered me, to be honest.
> The fact of the matter is it's infinitely easier to do all of your 
> looping ahead of your performance
> and then just fly them in as is musically suitable.
> To me, it's much more dangerous to have to pull all of one's tech off in 
> front of an audience;   to
> play live in real time in front of an audience even if you are looping 
> yourself for augmentation's sake.
> That's why , despite the fact that no one could tell from merely a 
> recording of a performance whether someone
> looped live or just flew in pre-recorded loops or samples,  I think 
> there is a huge difference between the two
> and this is why I am proud to be a live looping artist.
> This is why I specifically make the distinction that the Y2K Festivals 
> are Live Looping Festivals
> and why I send out a performance agreement before booking people a spot 
> on the festival.
> Out of 11 years of performance only two artists have disregarded the 
> rules about creating live looping
> content in front of the audience.    We'll have to have a heart to heart 
> talk if those artists ever want to
> play the festival again.
> Rick Walker