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Re: Re: Strategies for Hiding a Loop

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