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Looper's Delight
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>>the word 'loop' is used to describe 1) static,
closed tape loops which typically don't evolve (today we would say: samples,
or loops in the DJ sense), but also 2) open, evolving loops with continuous
input, like Terry Riley's system, based on tape echo units or two tape
recorders, later growing into analog and digital echo/loop machinery.<<
my own experience with loops and delays made with 1/4" machines suggests that such a distinction is useful only to the uninitiated. I used to make loops of wildly different lengths for my ferrograph tape deck, occasionally using a cassette-device that bolted onto the deck and held a much larger loop of around four minutes of special back-coated 1/4" tape (very much like a NAB cart without the box). I also used to run tape off the end of the ferrograph and through either a second ferrograph or an EMI L4 (anyone remember them?) for a long delay effect. we quickly discovered that this was the fripp approach and that it could result in "almost infinite" repeat (my english teacher would have a fit if she saw that...).
this all was in 1978-9 and without any foreknowledge of how riley or fripp achieved same. so I guess any engineer or sufficiently tech-savvy musician would stumble on the technique, and to attribute inventorship status to any one of them is as truly redundant as claiming to have discovered microtonality or something.
(p.s. mellotrons don't inherently have loops of tape in them. it is possible to fit loops though.)
duncan.
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