Re: gig ideas for solo acoustic

[Per Boysen <perboysen@gmail.com>]

On 9 sep 2006, at 02.03, rick wrote:

> I've had the opportunity to do some solo acoustic work and really  
> would
> like to. Being that I don't sing, I'm not sure about what to all do.
> There not pressure jobs. Restaurant/coffee shop atmosphere where I
> would be there more as background music than watched as a performance.
> I just don't wanna get up there and "jam" all night.
>
> I use my echoplex at home alot for fun and have been using backing
> tracks via computer for bar work with bands for a while, so I have  
> tools
> at my disposal.
>
> Just looking for some direction ideas or any advice.


Instead of "jamming" you can decide on a bunch of compositions. Make  
them up by yourself or simply pick up some standards. Then use the  
Echoplex to build the different parts of a song as separate loops.  
You may use an octave pedal or tuned down guitar string for bass  
lines, or double up on other instruments as well. The trick is to lay  
down the parts in the right order so you can use Multiply, Reverse,  
SUSSubstitute etc to create the needed song parts while you play live  
over them. To do this is actually more about planning than plain  
playing. You have to put a good deal of thinking into it to get  
started, but when you are done you have also learned some usable live  
looping concepts for Instant Composing that you may as well use for  
making "jamming" a bit more audience friendly ;-)

For a better (stereo) sound with a single (mono) Echoplex you can tap  
the signal through a low cut filter into a stereo reverb effect loop  
(using a mixer). With a beautiful stereo reverb lifting your high end  
notes you don't have to play, or loop, much to imply interesting  
musical scenarios. It often works better live to simply imply the  
tune than to really play it out into every single detail. For the  
audience the thrill is the moment when they recognize harmony and  
direction in your playing, rather than sitting through long periods  
when you work hard to create delicately detailed loops.

Bottom line is you should practice on not overdoing things and  
finding quick ways to create as many "magic moments" as possible;  
i.e. the moment when melodies are first felt to lock into each other  
musically.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
http://tinyurl.com/fauvm (podcast)
http://www.myspace.com/looproom