thats interesting! I guessed its in some big hand, unreachable?
On 22.Nov, 2013, at 3:13 PM, mark francombe <email@example.com> wrote:
> Late to the thread, but I must say to Oliver, the original poster, that the repeater is my favorite looper that I forget I have! Im so glad I have never sold it. Its sad tat dev on it has stopped, and for a while I was investigating the possibility of limited and authorised fan development. I managed to tack down the current owner of the pitch stretch software and had a few mails back and forth about how we might set up some license for one dev to work on upgrades. Not me you understand, I was just gonna project manage the thing. Anyway.. it fizzled out.
>hum, thats why you want to record on all tracks at once...
> However, I still love the repeater, and have a number of ways of controlling it. Ive got the mini keyboard set out on foot pedals. Also I spent a hell of a long time making a set of preset "chords" that I can trigger from iPad (Oh I should say that Ive mapped all repeaters controls (and hidden controls) to iPad via the missing link box and TouchOSC.) So a simple drone, copied to all tracks can be turned into chords, but think what happens when its NOT a chord, but rhythmic input, and then changed via iPad.
>if only the evoloop could replace both...
> If the EDP is the timing oriented chop and cut looper, the Repeater is the killer "ambient" looper. Its great to have the feedback quite low and use as an echo machine, where the echos are pitched, now with V2 software, you can press and hold a track to get individual play stop reverse of any track, so tracks can be brought totally out of synch.
> It has its quirks, I wish I could record to all tracks at once, I wish the trim controls would have midi commands, then repeater would have true loop windowing, instead of the manual (also fun) knob grabbing version. I wish it would NOT take forever to get to new pitches or slips (some like this... Per I think? I think its a quirky effect, but would be more usable if it didn't!)
I always that the impression that this problem ultimately killed the whole company. it must be difficult to change speed quickly without causing distortions and the automatic adaption to sync again after a speed change must be horribly complicated... and the tiny DSP and the flash memory made it all worse… yet we cannot even say they wanted to much, its what we really need to feel free in terms of musical speed
thats a decent task for you, Jeff! :-)
what do you mean: anal?
> I wish I could end operations with alternate commands, be a bit less anal.
sure… but how does this combine with switching them all on, how would you want to control this?
> For example, overdub on track one, then instead of stopping overdub, be able to go straight into track 3 and overdub there..
a mono- and a poly-track mode?