Apart from anything else, the Paradis logo (the word loop made as a tape thread) is to me the perfection of the aesthetic
> Date: Sun, 26 Oct 2014 11:52:05 -0700
> From: email@example.com
> To: Loopers-Delight@loopers-delight.com
> Subject: The Historic and Aesthetic Origins of Live Looping
> Maybe it's cutting to fine a distinction, but because of our own
> involvement with live looping,
> Terry Riley's work with the Time Lag Accumulator technique is a lot more
> interesting to me as an
> historic origin of our movement than Stockhausen's use of tape delay in
> the formation of Musique Concrete.
> Because tape delays' extension to the dedicated creation of long tape
> loops with the Time Lag Accumlator
> is analagous to digital delays extension to create the first dedicated
> digital loopers, we can say that
> Terry Riley (with the assistance of his mysterious french audio
> engineer) is the Birth of our Movement.
> Anyway, I find the early tape history and all of Stockhausens' work
> very interesting but it's Riley's work
> that I relate to and resonate with aesthetically, as a starting point.
> The creation of Matthias Grob's Paradis Loop Delay (1993? 1994?) is also
> a spiritual starting point for me, personally and aesthetically because
> it was
> the first piece of 'kit' that was invented specifically to create
> looping music in a contolled (and for me, rhythmic way)
> as opposed to jerry-rigging a couple of tape decks to achieve a recorded
> loop as Riley and the French mystery engineer did.
> Does anyone else resonate with these distinctions about our aesthetic
> and historical origins?
> Rick Walker
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