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Looper's Delight
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From: "Stefan Tiedje" <Stefan-Tiedje@addcom.de> > > I think I placed some of that information into the comment field of the > mp3. (ID3 tags are wonderfull, but often stay unused...) Thanks, Stefan. I updated the website with your description. Folks, this is what we have so far, below. Not bad. For those of your who don't have descriptions in there yet, you still have time to send them to me. Now, let's make it even better. If you have the info, send me your website URL, and a direct URL to your picture and I'll post it on the website too. For example, I would need a url like: http://www.box.net/public/static/pdyjckglzv.jpg Kris ******************* Streaming File http://www.krispenhartung.com/loopers-delight-10year.m3u Individual Sound Clips and Descriptions Per Boysen - Sweden http://www.box.net/public/static/bprq0dbv3h.mp3 Tenor sax (Otto Link 9-star) analogically into FireworX digitally into Mobius/Laptop (Mobius standalone version, no VST plug-ins, basically only looping). Creating three loops to jump between while melody phrasing. Typically II: Tonica, Tonica, Subdominant, Dominant. Subdominant, Dominant :II A lot of "add9" coloring of chord voicing. When looping in this context it really is "backwards mixing" since all the stuff you traditionally do when finally mixing your tracks - like EQ'ing, coloring with effects etc to blend them - all of this I do directly as I play, sort of "as part of the instrument". The tool for that is some 25 patches in the FireworX that I have created for layering stuff in a way that they should all sound ok together, as a summed mix of loops/layers. As an example I have very few sounds with a "full timbre", simply because then I would not be able to loop in the essence of layering sound. The colliding frequencies would make the musical counter lines hard to follow. Another concept for "instant orchestration" in looping would be to bring dozens of instruments and swap between them while layering loops. But instead I have chosen to use fewer instruments and work on the sound for alternative expression. Rainer Straschill - München - Bayern http://www.box.net/public/static/u8g5d8pj7b.mp3 As some of you may know, I did not do any written compositions ever since the turn of the century...so this is, as all my stuff since then, more or less improvised (more or less means: for some of the stuff, I used some patches of a groove box, but not here, and not anymore). It's from part ii of my Ninjam session with Tony K, of which Tony has already posted the first part here: http://www.thinginajar.com/bigtony/RainerAndTony.mp3 So why didn't he post the second part as well? Sometime in the mid of the performance, I experienced some problems with tracks dropping out and returning. This is usually a result of high CPU load or network load on either end. So I went and configured around a little on my side, looking to get rid of the problem. When I did, I decided to do some a capella stuff (I guess this is even the first recorded a capella performance of mine). So what can you do with vocals, MadShifta, OhmBoyz Delay and Mobius? See my clip. This is a loop cut out from about ten minutes of performance, after which I started to wonder why Tony didn't play anything. Turned out that I had deactivated his stream on my side during my troubleshooting. Andy Butler - Norwich - UK http://www.box.net/public/static/q0xj2l170o.mp3 Doug Wyatt - USA http://www.box.net/public/static/4ehvcpim6o.mp3 Jon Wagner - Chapel Hill - North Carolina - USA http://www.box.net/public/static/kr2c0h2q5n.mp3 Joshua Carroll - Texas - USA http://www.box.net/public/static/y92pvlyi0y.mp3 Mine is likely the simplest recording in this collection, and I feel a little silly even having it included. This was my very first day of successful live-looping. I ran my Takamine acoustic guitar and old BOSS drum machine (played with my fingers, not sequenced) through an Alesis Studio24 mixer directly into the line-in on my laptop's internal sound card and looped using basic overdub on one track in Mobius. That's about as simple as it gets! Raül_Beniarrés - CAT http://www.box.net/public/static/1udbvqs4hx.mp3 Steve Burnett - Raleigh - North Carolina - USA http://www.box.net/public/static/4jf31jax22.mp3 UNDO - David Kirkdorffer - Boston - USA http://www.box.net/public/static/p3s0dh7l7f.mp3 Fabio Anile - Rome - Italy http://www.box.net/public/static/h07yuy4mre.mp3 Mine was just an imporovvised recording with a DD20 loop and some sparse piano notes. Just for fun at night, before sleeping. Ted Killian - Medford - Oregon - USA http://www.box.net/public/static/xf3umzyacx.mp3 My little ditty is actually a tiny excerpt from an outtake that didn't make the final cut on my CD. I'm rather sorry that I didn't have time to record something new. Now, actually, I wish I had. Sometimes I just get lazy I guess. I want to participate but there are too many other things whirling around in my life at the moment. Anywho it's jut me an my trusty Gibson '77 RD Artist, fairly clean-toned, with Vortex, Sustainiac and 2 EDPs. Nothing really ground-breaking here. Just a way to pass the time. Michael Peters - Germany http://www.box.net/public/static/tzvsdsx94k.mp3 Electric guitar played live into a Digitech IPS33b with a pitch shifter + delay patch, then into a Vortex, then (using the mixer) back into the pitch shifter, ad infinitum. Milco Montagna - Italy http://www.box.net/public/static/scsgin9kck.mp3 The LD Chorus (Michael Peters) http://www.box.net/public/static/zenes07e76.mp3 The voices come from an online interactive text-to-speech software demo from AT&T (http://www.research.att.com/~ttsweb/tts/demo.php) echoes and arrangement made in Adobe Audition Tim Nelson - Portland - Maine - USA http://www.box.net/public/static/18z3b7hgy7.mp3 My LD Birthday tune ('Decayed') is an exerpt from one of those gigs. I have no idea what the signal path was, but I know it was played on an old, beat-up Washburn Monterey acoustic to which I added active electronics. The loopers were a Boss RC-20 (old version), an Akai Headrush (old version) and a Line6 DL-4, and they were hooked up to a bizarre combination of a/b and a/b/c boxes and an AR.Acoustic amp, most likely in cahoots with a DigiVerb, either a Boss DD3 or a DigiDelay and definitely a volume pedal. Dan Montgomery - USA http://www.box.net/public/static/0qq5hseop1.mp3 "30 sec from Improv in Dm #37" My submission is from one in a series of meditations done either solo or with other players, most of whom have no experience looping other then what I impose on them. Some pieces are based on pre-programmed triggered MIDI loops from either a workstation keyboard (K2000) or Ableton Live with little on no live looping. Others, like this one, are fully spontaneous. In this instance, I developed a rhythmic 'drone' pad on the Repeater using voice and hand sounds and several passes of processed guitar (VG-88 v.2). The other players ad-libbed over this bed. My function was to establish and maintain a musical environment and leave room for them to dialogue. Open mics captured the room ambience which can be heard in the background. The result can be surprising; from fully chaotic to unexpectedly splendid. The entire piece developed slowly over 11 minutes; all in all, rather short. I hope you enjoy it. Rick walker - Santa Cruz - California - USA http://www.box.net/public/static/3u5p0r47ag.mp3 I record a lot of my live improvisational shows and for the last seven years I have only improvised live and not done any compositions (though I revisit sets of instruments and will have set scales/modes/rags/maqams and rhythms that I'm in love with for a while). Frequently, I'll go back to those shows and hunt down loops that I do want to use in my abstract electronica CDs (I have a tendency to alternate composed, computer driven abstract electronica recordings with live looping recordings). I did the same with this particular piece, throwing it into ACID to manipulate the loops I 'sampled' from my self. Anyway, this particular track was from a one off theme show that I did (I love to do theme oriented shows just once or twice) called 'Weird Kalimba" where, for the first time since the turn of the millennium I used only traditional West African, North African and Middleeastern instruments and did a very avant garde show with them. On this piece I used just West African rattles (several different kinds from bamboo rattles to seed pod gourds to even a South African set of rattles made out of the husks ofMoth chrysalises). I then used the Echoplex with INERT equaling SUBSTITUTE (one of my favorite techniques) and rounded to 8th notes so that singing long tones in a particular scale the EDP would grab individual 8th note values of long tones I was singing, randomly. I love to play this game randomly because the piece starts sound really weird and without formand the more you play the game, the more all 8 notes (or however many you choose) will fill up. By singing in falsetto, I can effect a loop that sounds as if the Pygmies of the Ituri Forest had accidentally drunk some on LSD spiked punch. The 'melody' is just me using a couple of different extended vocal techniques (warble singing and trill singing) along with a couple of interesting technique where 1) I pound rhythmically on my chest with my fist which causes very quick comb filtering effects to change the timbre of my voice as I also manipulate the overtones of my falsetto notes and 2) where is grab the loose skin just above my adams apple and shake it rhythmical which causes a very interesting modulation effect on the voice. Both of these techniques look really strange (as it does when I play my Filipino nose flute or manipulate the overtonesof my horribly phallic looking toy voice changer) and the audience will sometimes laugh when I do this but I think it produces really cool vocal effects. Daryl Shawn - Oaxaca - Mexico http://www.box.net/public/static/v87t829h3x.mp3 I'm lucky in that 30 seconds is the normal length of the loops I make, since they're 30-second cassettes. I did four tracks of improv nylon-string direct through a Studio Projects tube mic pre, into a Yamaha four-track. Two tracks are clean, two are fuzz (Effector13 TBD). I did a lot of pitch-shifting with the speed control, which shoots the tracks up an octave with a bit of a "whoosh" which I'm partial to. Overall, the low fidelity stands out compared to a lot of the other tracks, but that's part of what I like about the medium. Ingo A. - Stuttgart - Southern Germoney http://www.box.net/public/static/m75l7rojce.mp3 Kevin Cheli- Colando http://www.box.net/public/static/1x38r6rh3f.mp3 Luis Angulo - http://www.box.net/public/static/hdu66flopu.mp3 Neil Goldstein - Portland - Oregon - USA http://www.box.net/public/static/fvr7ummoin.mp3 Charlie Milkey - Wisconsin - USA http://www.box.net/public/static/1bmfgd572j.mp3 This is an ambient piece that I chopped 30 seconds out of; the setup was guitar->toneport->gearbox->garageband and the same with bass :) The song is based on a Spanish classical guitar piece titled "El Noi de la Mare" that Ihave been playing incorrectly ever since i first tryed playing it...mainly because Ihave never heard the song before :) I thought it sounded better this way :) Warren Sirota - Saudade http://www.box.net/public/static/32txsp0gl2.mp3 I was swimming in a pool of mercury, and when I emerged I had silver snakes instead of hair. And I shook off the snakes and revelled in the glory of sudden hairlessness, and realized this was my destiny, to wander smiling and naked through the world, reflecting. RP Collier - Portland - Oregon - USA http://www.box.net/public/static/qbpok022cb.mp3 The local newspaper in my berg hosted a ringtone contest last month and wanted 30 sec. max compositions, so I put together a track using thumb piano loops. The thumb piano is passed thru a ring mod filter but otherwise everything is simple and minimal. I put the track together as an alert chime sequence, then an urgency sequence where the rhythm is varied, and then a drone or holding sequence. I felt it would function well as a ringtone but the 3 judges deemed it unworthy of comment. The winners and honorable mentions were all multilayer/multivoice, Winner was drum/bass/synth/sample techno electronica, the 2nd Place entry was a flute sonata. I listened to all the contest entries and still feel that my little ditty works successfully, with just the right amount of "perky and quirky." But what do I know? I suppose it might have helped if I had ever actually owned a cell phone. Or maybe not. :-) Stefan Tiedje & Lutz Wernicke - Paris - France http://www.box.net/public/static/shro4khf1t.mp3 It was pretty simple out of my perspective, Lutz played violin, I treated the Ondes Memorielles. It is a Max patch with a mixer like setup of 8 phrase loops of up to 90 seconds and a tap delay (also 90 seconds) with 8 variable taps each is harmonized and could feedback into the tap input. A really cheezy reverb would add some air. The combination of harmonized feedback could create quite complex melodic and harmonic structures or textures...all this is controlled with a Faderbox from Fostex and a little Midi keyboard. Claude Voit - Switzerland http://www.box.net/public/static/rd6ms1a9og.mp3 Mark Christensen - Vermont - USA http://www.box.net/public/static/9qd1ez3h52.mp3 um... er... i snipped 30 seconds out of an improvised solo guitar looping...uh, something or other. i think this was done with my Frankenstrat, TC Electronics Sustainer, a Lexicon JamMan and a Vortex. waaaaaayyyyyyy stripped down for me. sounds like it was done during my "Vortex before the JamMan in the signal chain" period. Jeff Kaiser - Ventura - CA - USA http://www.box.net/public/static/v9ian8c0y9.mp3 So, I was working on some software for a friend....and made some loops making squeaky lip noises. This was done in one pass using the free Pluggo Jr. Plugins, Max/MSP Runtime and my free software available here: http://jeffkaiser.com/software.html Tony K - USA http://www.thinginajar.com/bigtony/TonyK_LD_BirthdayLoop.mp3 This is a snippet from a piece called Razorwire Necklace. Most of the effect is from my Adrenalinn, the ModFX Philter and a DL4 and DD20. One of them is set on reverse delay with 100 feedback. Krispen Hartung - Boise - ID - USA http://www.box.net/public/static/dd6ylydpqr.mp3 I did something a little out of my element here....okay, a lot out of my element! I pulled 30 seconds from a clip that I recorded very recently for Rick Walker to collaborate over, but rather than it being me on guitar (my primary instrument of 26 years), it is all vocal looping, just me on my Sure SM58 plugged into my laptop looping/effect system with Mobius. But you may not be able to tell that it is vocal only, as I was using some massive tone mangling VST effects, such as Reaktor, ring mod, octave, Cycling 74 Hipno, and a bunch of other layered effects that I can't recall. I liked the clip so much, that I think it's almost more experimental and avant-garde than my guitar material. Who knows, maybe I'll do a looping gig with just voice in the near future. The entire song was supposed to be called "Baby Zantac". Rick...you're up. BTW, if you want to hear here the full 5 min clip of madness, you can download or listen to it here: http://www.box.net/public/86akafpxhk Brian Good - Chesterland - OH - USA http://www.box.net/public/static/5mvbl832zg.mp3 Processed soprano sax, Apple Sculpture, Motu MX4, Spectrasonics Atmosphere and NI Absynth, along with four instances of Augustus Loop.
