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Looper's Delight
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>Dennis Coggia wrote:
>
>>I second the motion for listening to even more of other peoples work.
>>It's like getting an education which is surely need in the present >state
of the music world. ...
>
>>Great music inspires, that's what makes the differance between music
>>what
"does it for me" and all else.
>> My favorite Artists have inspired me to find my own voice, not just
>> admire them.
>
>Hence my question regarding what the non-guitarist (Brian Eno) was doing
>on the "No Pussyfooting" recording. I'm not interested in beating the
>"Fripp is god" thread but rather would like to understand how some of
>the tools (like a delay and a mixer) can be used to process guitar
>loops. I must say that I was suprised not to get a response to my
>initial post. Many of you LDers have indicated familiarity with this
>album so it can't be that no one has heard it.
>
>Listening to others music is great but sometimes it can be very
>difficult to understand how that music was created. Understanding
>another persons creative process can provide the kernel for each of us
>to add another approach to our own process no matter what level we are
>performing at.
>
>
Sometimes its just a valuable to have no idea whatsoever about how
something is created and try to figure out a way to do it yourself. This
results in finding a way for you to do something that you have
'discovered'.
you may find out later that your preconceptiuons were in error, but you
managed to do something creative all the same.
For example, in the early stages of my guitar playing, I wasn't
aware of multitracking andf thought most of what I heard was one guitar
player. I tried very hard to develop my ability to match that of the
records I loved. Come to find out later it was two or three guitarist.
What did I get- a picking technique that allowed me to do what I heard. It
caused me to examine different voicings and incorporate my fingers as well
as a flatpick. Sort of a happy accident.
By not knowing how something is done, you have to use your
imagination and engage that in conjuction with the toys at your disposal.
Jean Cocteau did great special effects in his movies and didn't require any
of the vast techno toys available to someone who uses Industrial Light and
Sound (not to slag anyone off, here) He just used simple stuff like
turning
the film around. And it works and has a special charm you couldn't create
with any other method.
So listen to lots of stuff, the more varied the better. than try
to
do what you think you want to do with your music woithout being concerned
with how others did their stuff.
Now that I've said that, I guess I have to do some of that too.
Frank Gerace
Dreamchild