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Re: reducing "time to setup"--

I'm in agreement with a lot of the discussion here. My RC300 is a godsend with having the ability to have loops if different lengths. One thing I wanted to add is the idea of less is more. Being a more pop-centric looper myself, it was really important to keep song lengths down, because a whole set of looped songs can really wear an audience down. For many a listener, the novelty wears off after a few songs. My only suggestion for keeping them around while not 'cheating' is literally using less layers. Yes, the album version of your song sounds great with tripled takes of everything, but looping often becomes masturbatory and we fail to take the audience into account. Pare it down, keep it smaller to just essentials. It might make a difference of minutes (on top of everything else others have suggested). Also, talk to the audience - while your loop is busy closing/cying through, take that 'down-time' to engage them with "how's everyone doing tonight?", "are you ready to rock?!" etc (pardon my rock and roll background). 

My $0.05 (Canada is phasing out the penny)

On Friday, December 6, 2013, Mike Fugazzi wrote:
When I had a Boomerang III, I did everything in serial sync.  That way, I could start with short loops.  It also let me set up loops to come in on time without having to count.

For example, I could do a song like Hey Joe with only having to get through the entire progression twice before singing.  I would beatbox one bar and then let it repeat, and then jump into the rhythm part.  I could cue the third loop of bass so when the rhythm hit the turnaround, I could go right at it.  I am not an great looper by any means, but figured out some of the math behind it.  I am realizing I really miss the Boomerang and want another.

On Fri, Dec 6, 2013 at 7:36 AM, phillip wilson <phillwilson@hotmail.com> wrote:

> >> Could you please elaborate on ways you've found to minimize this
> >> "rampup" time?

I would suggest using "multiply" (A LOT) ...
in any performance I tend to have loops spinning at 1 bar , 2 bar, 4 bar , 8 bar and "long form" intervals...these in my setup can come from anywhere groove boxes, midi loopers or actual audio ...but nearly all my performances have them , the trick is how to over lap them...
for instance
an electribe set to just 16 steps makes for a VERY quick entry drum pattern to get the feel for the timing of my song.
over that I might add a 2 bar loop BUT I don't initially loop it , I just play freeform until I find a part that sounds more "hooky" , I record this bit and leave it looping...because the audience heard more than the 2 bars, they don't recognise the loop point so quickly...
this gives me time to head back over to the 1 bar drum loop and change it up a bit, making it sound less like a fixed "layer"...
after that I often start adding in the bass or chord structure, I often work in 8 bar loops but again I might riff around for 32 until I find which chords are the nicest to layer against the riff I just made....
then I can cancel out the drums completely and break things down a bit.....make some changes whilst under mute...maybe change the actual kit sounds being used...
before bringing them back in along with some kind of rising sound or similar to gain a "build up feel"
then add in either the bass or chord element in reaction to what I layered down first.
.....that is about the total of my music practice.
to do this requires flexible routing (so you can pick sounds/ what is getting looped ) dynamically, the second is multiple places to create loops....having a few loopers or tracks within a single looper is , to me, the single most useful way to break out of "looping sounding like looping"...I am sure others could take this much MUCH further than me, what I do is improv  and fun but not polyrhythmic or technical at all...but I love it.
here is an example from last night if anyone is interested.
interesting topic,
Phill MyOneManBand

Jean-Paul De Roover
(807) 251-3376