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Looper's Delight
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On 03/12/2014 18:56, Clement Rooney wrote:
Dear Loopers!
Probably worth being clear that while this list is open to the idea of using pre-recorded material for looping most of us don't actually do that.
------------------------------------------------------------------------------------------------------------- -Using production techniques on stage is still a relatively new craft, how do you deal with controlling levels and panning etc.?
All done with playing technique and pre-loop. Except 1) The dual EDP setup doesn't stereo sync perfectly, so I get a bit of Haas effect panning which varies layer to layer. 2) I'll often de-stereo-link the 2 edps in mid piece. ...but that's *a lot* of techniques, they'd all need explaining.
-What other production challenges do you commonly face?
Changing the timbre of the electric guitar to produce a full mix of contrasting sounds. Setting up a convincing groove with just a guitar and some fx, and doing it live. Keeping track of what the hardware is going to do next.
-If Improvisation is a part of your sound, what are the challenges when improvising on an instrument of so many possibilities?
The challenge is always not to get into a dead end. Like Per I mostly put all the layers into one track so the piece will be controllable.
Do you set yourself limitations to help create a coherent sound?
The hardware creates the limitations. To some extent the compositional input is about getting the most out of limited hardware. I even use different hardware setups for a while just to see what ideas are born of necessity.
-What sort of preparation goes into a set?
A lot of rehearsal for set pieces. Enough to be able to handle it when things go wrong. That helps with improv too. Ideally the piece evolves during rehearsal at reaches optimum at the performance. Sometimes I partially plan out an 'improv' piece mentally on the way to the performance. I work so that all I have to do pre-performance is disassemble the working hardware setup for transportation.
-Do you try to create climaxes at certain points in a set? If so, how?
I'm aiming for some kind of structure same as I would for on paper composition. A good technique for a climax: 1) set up loop 1, full mix. 2) stop loop1, and build up loop 2 3) play over the top of loop1 4) keep playing over, and change back to loop1 in other words, recapitulation.
-When you are performing, how do you read and interact with the crowd’s response to what you’re doing?
I don't have a particular procedure for this. I try to acknowledge the audience as is possible.
Are there any specific musical characteristics that people respond especially well to?
Not noticed any trend.
-Whilst performing, what sort of things do you consider when you are moving to new material?
Is the gear set up right for the transition? Usually it's to create a contrast.
-Were there certain genres or artists that inspired the making of your instrument?
For the EDP the underlying concept is "rhythm is cyclic" Rather different to the notion of bar lines as is implemented in a program like Ableton Live. ;-) Probably that's going outside your scope. Big questions here for live looping, so just just vestigal answers for now. The idea of evolving loops has been shared by a number of artists, but previously with less focus on groove. Usually a hardware loop device *isn't* optimised for the user on release. Large companies simply won't ever understand why, no infrastructure Small companies are now able to update the software of the device based on customer response. Often the artist finds ways of using a device beyond the intention of the designer. ...and part of the EDP development involved taking those 'tricks' and improving on them.
-What advice could you give to someone just starting out in groove based live looping?
Move away from pre-recorded pre-programmed material. ( although if that advice isn't taken it's just as good ) hope that helps andy butler www.andybutler.com