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Looper's Delight
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Afternoon, Stig! ** yo (as they say in hollywood) Agree completely. The EDP recordings of mine I feel proudest of, both musically and technically, don't use feedback at all (except for one fade-out at the end of a 43-minute improv). ** damn ;-) >I gotcha. For me, it's analagous to this: if someone's already making good music with major and minor chords/scales, then why should they learn about seventh chords or modes? Or, if someone's digging 4/4, then why should they learn odd meter? If someone likes swing, why should they check out be-bop? In all cases (including the looping angle), the issue I'm concerned with is for a musician to have a good sense of the current (and potential) scope of the tools they're using. And to have a sense of what they can potentially explore, if they're so inclined, and how these different possibilities could potentially steer their music making in different directions.< ** well maybe . . . i mean, some people just have voices and don't need any of this stuff. i guess i'm thinking of someone like john lee hooker. i don't know if he knew a major chord from a minor, or 3/4 from 4/4 . . . and i don't think it matters. in general, though, i agree with the sentiment . . . with the caveat that sometimes the impulse to "educate" strikes me as a manifest destiny sort of thing. (and, being a "true believer," i do *more* than my share of evangelical work, if you get my drift.) >If someone really likes harmony, and is curious about moving beyond major and minor triads, then I'd recommend that they play around with some seventh chords, get a sense of how those types of chords are sometimes employed in a functional sense, and then let them decide whether or not this new technique is something they want to implement into their own music. Likewise, if somebody really likes rhythm, but is looking for different kinds of grooves and feels beyond 4/4, I'd suggest that they try playing in 7 or 5, get comfortable with the way those meters feel, and see if they're inspired to make those sorts of areas a regular part of their work.< ** that (BIG) "if" is what leads you on your own path. for me those things may matter, for others they may not . . . i think what rick was saying (and i really shouldn't put words in his mouth - - rick?) was that, using your analogy, "feedback" was being taught to us, but may it not have been necessary to do so. >Particularly for those folks who are interested in smooth, rounded sounds, and the idea of gradually morphing a texture into something else within the same basic loop, it's a very powerful tool. < ** probably so. i can kinda do the morphing thing between two loopers . . . >For me, it's looping as a real-time performative approach - something people can engage, sculpt, steer, shape, etc. I'm not speaking of it as an "art form" in the sense of a distinct style, but in the sense of a particular form of performative musical technique - a la the "art form" of playing the bass, or painting with watercolors, or what have you.< ** okay, "art form" seems less generic tha all that to me, but i get your drift here. the semantics of it threw me off. >It's sort of like how I'd recommend a guitarist to try a hollow-body "jazz box," as well as a telecaster, as well as a seven-string, Floyd Rose-equipped, two-humbucker Ibanex. All three of them are designed from different points of view. An aspiring jazz player probably won't need the Ibanez shred machine... but what if the "aspiring jazzer" really wants to do those humbucker-driven whammy-bar dive-bombs, and just hasn't been properly exposed to the right tools?< ** 7-string george van eps with a whammy bar . . . stig <font size="1">Confidentiality Warning: This e-mail contains information intended only for the use of the individual or entity named above. If the reader of this e-mail is not the intended recipient or the employee or agent responsible for delivering it to the intended recipient, any dissemination, publication or copying of this e-mail is strictly prohibited. The sender does not accept any responsibility for any loss, disruption or damage to your data or computer system that may occur while using data contained in, or transmitted with, this e-mail. If you have received this e-mail in error, please immediately notify us by return e-mail. Thank you.