Re: Fripp's loop technique

[Reginald Hunt <rphunt@tiac.net>]

>ok, sure, I could add these to my mile long list of cds to buy. But the
>odds are sort of against any one item on that list actually getting into 
>my
>cd collection, so it could be years before I actually get any of these. I
>guess what I'm really looking for is some deeper analysis of Fripp's use 
>of
>looping. A lot of you seem to be very knowledgeable about him, so what can
>you teach me? What sort of approach does he take to loops? Does he have
>some typical processes or techniques? How do loops relate to his musical
>style? Is there some sort of purpose or underlying motivation in his use 
>of
>looping? Has he developed his use of looping in any particular way over 
>the
>years?

Its funny that you want to understand Fripp's approach without actually
listening to any of his music. But, here's some cliff notes that others 
will
probably be better than me at fleshing it out:

There are basically two Fripps in regards to looping.

Starting with Eno, he used 2 reel to reel tape decks side by side. Tape
would be strung from a full supply reel on the left deck to an empty 
take-up
reel on the right. His guitar would feed the input of the left deck. The
playback of the right deck would also feed the input on the left deck. This
allowed a long delay usually between 8 and 14 seconds, letting Fripp 
develop
from single notes or arpeggios very lush textures. They would then edit the
tapes, and he would double track solos over some of them. The albums they
made were "No Pussyfooting" and "Evening Star".

He toured with a basic version of this setup for a few years, performing in
record stores and pizza shops among other venues. This setup was named
"Frippertronics". It allowed him to explore his ideas regardig an
alternative view of the music business and the audience performer
relationship. It allowed him to be a "small mobile intelligent unit". Q&A
sessions during the performances were typical. A few albums were compiled
from these tours as well, "Let the Power Fall", "God Save the King".

Fripp used "Frippertronics" in other contexts. He would copy parts onto
multitrack tape to include with rock pieces and ballads. The album
"Exposure" is a good example. He also did this when King Crimson was 
reformed.

Using TC Electronics TS2290 delays, he replaced the tape decks. With guitar
synth, and a rack full of delays and processors, he now produces
"Soundscapes" which he has used on King Crimson records and with other
artists. 4 albums and an EP of pure "Soundscapes " have been released too.

Soundscapes are essentially Fripp feeding 4 delays with guitar synth. The
delays may are may not all be set at the same delay times, but I believe
they are normally outputed in parallel. The delay times are usually very
long, so the sense of repetition is slight. Fripp tends to go with string
pads, choir pads, and other "spacey" sounds, so far. Auto panning, echo,
heavy flanging, pitch bending are all used. This can be truly stunning to
experience live.

I do recommend the CD single "Pie Jesu" for the title track. Truly
beautiful, and practically heartbreaking.

Believe me, I welcome any corrections.

Reg