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Re: How does Schon Sync?

Eric Cook appeared and stated strongly:

>We've used a lot of live guitar loops (mainly
>from the digitech 8-second sampler pedal), both live and in recording, and
>I've been consistently surprised and pleased with the results with both
>in-sync and out-sync loops.

You are talking about only one machine, being in sync or not with the
actual playing of the band, right?

>You can wind up with just truly bizarre counter-rhythms, strange
>"accidental" harmonies, all sorts of essentially non-reproducible results,
>which add both a "seat-of-your-pants" excitment for us as performers, and
>new compositional elements that we literally could not have planned out
>before hand.  And all of this, for me, is a very good thing.

>[I suppose I should mention that this is all filtered through the context
>of playing in a semi-improv noisy psych/space rock band of sorts, so my
>biases should be apparent as to _why_ I consider this to be a good thing.
>But I do believe that accepting the "accidents" of looping material has
>value and application even outside of that immediate context.]

It is certainly exiting for you, but how does a public think about it?
Would'nt it be the nicest to be able to "play unexpected" and produce the
clima of surprise within a synced rithmical order? (I may be totaly wrong

>I can discuss particular techniques that have worked for us as a whole, as
>well as methods that I use as a drummer for dealing with playing against
>non-synced loops if there's any interest.  Heck, I may blather about it
>even if there's not. :)

I you use "methods" don't they end up cuting down the space for the
accidents? Probably depends on the kind of methods... give us some more
"blather"? No, a speach for over 50 interested specialists.. :-)

>Accept the accidents -- there is value in them.

Totaly agreed!

Thank you for this contribution