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Looper's Delight
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David Kirkdorffer notes: > I think the reason you see so many guitarists associated with Looping is > simple - there are so many guitarists. Y'know, the first two actual loopers I ever met were a 'cellist and a guy who plays the sackbut or somesuch in an early music ensemble. I wonder how much one's instrument influences one's approach to looping. [If all you have is a Hamer, everything looks like a nail? geddit? oof, sorry!] And I wonder how much looping technology influences one's approach to looping. There's some weird compartmentalization going on too: I have noticed that some people who wouldn't be able to function (compositionally or performance-wise) in a traditional ensemble can SHINE with a looper, while people who otherwise can compose interesting songs and improvise compelling solos that take your consciousness on The Big Journey, and who can dish out evocative textures and moods and not leave a dry seat in the house--aren't necessarily gonna pull it off with a looper. Is the technology limiting in itself? Or do these expensive little boxes just ooze menace like parochial school nuns and make your brain and hands freeze up? (I'm inclined to think that any technology is simultaneously liberating and limiting--it frees us up to want more than we have.) Is there a bizarro world Scott whose muse isn't afraid of the big bad loop? Will an "UNDO" function make me free? Or am I doomed to go back to the UNDO button again and again like some poor sinner who just can't give up the Seven Deadlies (out of tune, ahead of cue, behind cue, missed a note, wrong note, too fast, too slow). Scott Bullerwell tanelorn@dimensional.com Boulder, Colorado USA