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Re: Popularity/influence/etc.

>In other words, is there anything about the actual sonic result that
>will offer something that can be substantially distinct from what can be
>done in a standard step-time studio assembly manner?

sure, the operation of it: almost every composer is an improviser at 
home and wants a fluent tool even if he trashes the recording.

and more and more, the composers will not have enough musicians 
available to play all of their composition.

>This to me is one of the fundamental challenges - not just in a
>promotion/advertising sense, but in a purely creative and aesthetic one.
>  Can you actually accomplish a MUSICAL or PERFORMATIVE result with these
>tools that WOULDN'T be possible by just playing a pre-recorded backing
>track or spending a few days splicing and dicing on a computer?  Just
>because you CAN do this stuff in real time, is there any intrinsic
>musical result that truly TAKES ADVANTAGE of the real-time angle?  Can
>you inspire people to WANT to take the time to learn the physical and
>mental technique of using a real-time looper, when they could just
>endlessly manipulate pre-packaged drum loops in a software sequencer 
>instead?

Many want to repeat the compositions live. Sonicly the result may be 
a little worse, but the feeling is stronger. Mich Gerber just 
recently repeated that to me. He now controls all his EDPs from a 
sequencer, so he just plays on stage and has no freedom to change the 
composition, but still interprets them, puts that thing that does not 
fit on any recorder...

thats one of the points we have to explain to the *public*, too, so 
they become aware and valorize!
-- 


          ---> http://Matthias.Grob.org