Re: A Million Monkeys

[Mike.Biffle@wj.com (Mike Biffle)]

> So here's a question to ponder:

> If a million monkeys post to Looper's Delight, how long before one of 
>them
> happens to post on topic? :-)  Perheps some of you monkeys would be so 
>kind
> as to explain how loops and looping fits into your monkey music?
> kim

Hi Kim...

It's haha funny how often I'm involved in off-topic redirection... 8-> 
Actual on
topic implementation strategies follow!

Solo, I typically loop the first "interesting bit" I come across, however 
long. 
Which I then either compliment / argue with / Vortex / car crash... then 
later 
fade while permutating, often with short sequeway loops from either 
Vortex, 
LXP15II or the delays in my GX-700...

In ensembles it becomes quite a bit harder to slip in loops... It's mostly 
chemistry... are the jam mates really listeners, or do they really need to 
get 
their own ideas out? Often the first person to loop defines that portion 
of the 
improv. Then it's up to others to support / subvert the given musical 
content.

Using short cloud like loops to provide a backdrop sometimes works well 
when 
there's other defined material present, sometimes allowing the longer more 
defined loop/looper to permutate without dropouts...

Using short loopers with time knobs and wacking at the hold button until 
it's 
resampled itself into bleeps and blips provides actual interesting and 
surprising content to play with... ala Bill Frissell and Nels Cline.

Sending the JamMan through my Waldorf 4-pole analog filter often completly 
revoices the loop adding very percussive elements. This can also morph 
into 
insect like twitching... and finally descend into the sub-bass muck which 
the 
filter does quite well.

If the insect sounds become bothersome, I groom them from my own loops, 
then 
move over to my fellow looper...

best,
monkey-man-miko