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Looper's Delight
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precious Bill Walker said:
>PS to Krispen. regarding promoter resistance to looping. I had a
>related conversation with the local producer of a public access TV
>program called Musicians Weekly that I took part in last fall.. We
>were speaking at a party I had just performed a loop set at, and
>rather than play solo like I usually do, I had a good friend and
>outstanding drummer sit in with me for my set, and basically listen
>and interact with my loop inventions. He (Ron, the TV guy) was
>talking about how his experience tapping loopers is ,that we don't
>make particularly interesting subject matter from a visual
>standpoint. The extreme case being, in some instances the artist in
>question took to much time in the building and creation of the loop
>ideas, and lets face it, watching someone look at their rack is not
>that interesting.(no matter how cool the gear is LOL) But at the
>crux of his feedback was that, what was being lost was the
>interaction between the musicians, the human interplay, that is
>really vital to draw people in. He went on to say in regards to my
>set, was that just by having another musician to provide a foil,
>made a big difference from an audience standpoint. I would tend to
>agree. There are certainly loop soloists, that come to mind ,that
>I've seen, that can definitely hold your attention for a set. But
>the often times static nature of looping can have a decidedly
>lulling effect rather than an exciting one. I would consider myself
>a fairly introverted guy, even though I like to perform, but I have
>to stay conscious of not lapsing in to shoe gazer mode. So I work
>at trying to make my live looping thing more interesting by being
>more engaging with the audience, and keeping my loop ideas
>constantly morphing. And I'm also rethinking the whole solo loop
>thing and leaning towards working more in a duo setting, again. I
>realize from an economic standpoint that doing a solo act has its
>advantage$, but I must say I miss the interaction with a real human.
this is important talk!
I started looping solo as probably anybody starts to practice any
instrument.
I still think that for some more meditational uses or to follow
visual elements or dancers, its great to be able to creat all sound
allone since the interaction with other musicians can disctract from
the focus of such creations. BUT:
I agree with Bill and Ron that for the public its much more
interesting to follow interaction! Also, the best way learn from
others is to play together. Its not just the technique we observe but
rather the feel, its as if one could introduce his "channel" to the
fellow musican, who can call it himself from then on...
I have loved doing duos since the 80ies (have a listen to my
recordings with Marcio Miranda, its even possible with only one short
loop unit!) and up to date, I play rather EDP duos than solo shows,
mostly with Giba...
At that time I found that syncronizing of several looping units was
cruxial to maintain the equilibrated interaction between musicians.
I observe its quite boring for a musician to follow the loops of
another without being able to do his own loops.
Non synced loops can be intersting but sooner or later, especially if
you want to get closer to public taste and dance movement, Sync
becomes important.
So I designed BrotherSync in a way that alows any musician to start a
new timing which then the other musicians can follow or not.
I hoped that this feature safes us from loneliness and uninteresting shows.
I am a bit worried that its not used enough.
It takes a little practice.
Please try it before you go on stage and jam away with partners,
getting lost in some technical problem!
But its not dificult, made to flow without thinking, just like most
other EDP features...
How about a BrotherSync workshop before the shows at the Santa Cruz
festival, Rick?
--
---> http://Matthias.Grob.org