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At 08:58 AM 8/25/2002, Travis Hartnett wrote: > >That's the whole point here. Big figures in pop culture are what moves > >things. If we are interested in what will make looping more than an odd > >niche, that's what it takes. A big shift in popular music culture that > >somehow includes looping. Fringe artists and a few guys from decades ago > >don't do it. > >On the other hand, there's a John Scofield article in the same issue that >shows his pedalboard which features a Boomerang and a Loop Station, and he >discusses how groovy the Boomerang is. About 18 months ago it seemed that >every issue of Guitar Player had at least one article with some guitarist >going on about looping in their playing, it just doesn't get headlines. That's not huge, but it's not bad either. If he's really taking a new direction with his music, and it really is based on looping, and people really like it, some of his fans will dig on that and get interested. I remember when I initially got into this, I was really surprised at how many acoustic finger-style guitarists were into using electronic loops in their playing. It didn't make any sense to me at all until I discovered that Phil Keaggy was really into looping and had based a lot of his songs on it. It wasn't just a novelty, it was an integral part of what he did and he's pretty popular. Fans of Phil Keaggy wanted to play music like he did, which meant they had to get JamMans like he used. Chet Atkins also. He won a Grammy for his song Jam Man, which was based around looping with the JamMan obviously. But mainly it was good music that a lot of people liked, made by Chet Atkins, who happened to use looping to create it. So people tried looping to be like those guys. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com