Re: Re: Strategies for Hiding a Loop

[Rick Walker <looppool@cruzio.com>]

Most excellent post,  Thanks Matt!!!

On 5/8/12 9:56 PM, Matt Davignon wrote:
> You got most of mine. I know of a few more:
>
> 9) Paint over the seam: This is so simple and probably so common it's
> almost not worth mentioning: on the second pass of the loop, record an
> event that occurs over the start/end point. This works best for
> non-rhythmic loops. It won't change the perception of repetition, but
> it will help obscure the start point.
> **
>
> 10) Loop in an unexpected multiple: This works best with rhythmic
> playing. In most Western music, people expect patterns to occur in
> multiples of 2. (Events occur in songs 1, 2, 4 or 8 times in a row,
> but rarely, say, 5 times.) So, instead of recording 2 or 4 measures of
> your rhythm in a loop, try recording 3, or 5, or 12 measures.
> (I do this in the track "Mold" on the cd "Living Things" - the loop
> represents 3 repeats of the perceived pattern, where the ear expects
> it to be 1, 2 or 4.)
>
> 11) Keep loops minimal&  complete them with live elements: The more
> predictable events there are on a loop, the quicker it wears out its
> welcome, I think. For example, if someone has a drum loop where
> there's 16 layers of kicks, snares, claps, toms, hi-hats, crash
> cymbals, cowbell, shakers, etc, it's only going to take a  couple
> repeats for it to sound canned. On the other hand, if your loop
> includes only the basic kicks and hi-hats, and you play the snares and
> occasional accent kicks free-hand, you can get it to sound much more
> lively.