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Re: Any dj's using loops live (The Rest Of You Can...)


Ok, so he was looking for a REAL Dj... like me ! But some of the replies sounded like self righteous techno-jargon for some kind of Hardware-head ! The guy was asking a simple question, he was not asking to be qouted the User Manual from Echoplex. I know we are all proud of our equipment, and the joy it brings us, but to "inflict" that "joy" upon others who have little interest in the techno-babble of gyrating oscillators and synth's is a tad much. He just asked... who was using Loops in a Live set, not "who has the biggest stick", when it comes to equipment.A simple reply like ... "I use live loops, and I use Red Sound's Cyclops..." would have been cool, then liven it up with some of the equipments high points... end of story. That "Tome", that was used as a reply had my head spinning...., thus my reply of "Huh ?" .

I feel your frustration man......

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HuH ?

----Original Message Follows----
From: Richard Zvonar
Reply-To: Loopers-Delight@loopers-delight.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Any dj's using loops live?
Date: Mon, 09 Jul 2001 19:28:41 -0700
At 7:09 PM +0000 7/9/01, Brian Parker wrote:
>I was just wondering if there are any djs on the list that are using
>samplers to create loops on the fly during performances? It just did
>look like many electronic artists were here from the profiles i
>If you are a dj, what are you using for gear?
I don't consider myself a DJ (nor would most DJs or their audience)
but for a long time I have performed with a combination of playback
media, live performers, and signal processors that include looping.
The setup varies, but among my favorite processors are the Eventide
H3000 and DSP4000, and the TC2290. All three of these devices can
perform looping functions in either a regenerating delay mode or a
sampling mode. One favorite hack with the H3000 is to control the
playback parameters (start and end point, playback rate, pitch
transposition) with faders. The H3000's Sampler can loop two voices
independently, so I use eight faders. One particularly interesting
thing is to move the end point earlier than the start point so that
the sample plays backwards.
The DSP4000 has a sampling function that can immediately play back in
reverse, so I can capture a live sample and then play it back
immediately either forward or in reverse. This is especially
interesting with live voice, and I've done a lot of this with a story
I control the TC2290 with MIDI, and I am able to address all its
parameters with system exclusive messages. One favorite looping hack
is to control a pair of 2290s and to move the playback "window"
forward and back in time. The two loops can be the same length but
offset in time, or they can be of different lengths.
For prerecorded playback I use CDs and cassette tapes (when I started
doing this there weren't any CDs yet). On occasion I've used looping
cassettes, but mostly I use regular cassette recordings of music
ranging from assorted world music to classical to avant garde
instrumental and electronic music (it's interesting to hear Satie and
Nono superimposed). One of my cassette decks is a Tascam Porta One (I
bought it in 1985). This is a cassette portastudio that runs at
regular cassette speed, so you can play any normally recorded
cassette. The interesting thing is that while "Side A" is playing
back normally, "Side B" is playing back in reverse. The faders on the
Porta One allow simple fading in and out of the tracks.
I mix all this stuff with a Mackie 1604, and I've devised a patching
system that allows me to audition signals before sending them into
the main mix. The 1604 has four outputs, of which 3 and 4 are
considered an Alternate or "Alt" pair. I use these outputs as my
mail feed to the PA system. When I want to audition something with
headphones I have that channel in normal mode, routed to outputs 1
and 2 (which aren't hooked up to anything but which feed into the
headphones). Then when I want to send the signal to the main mix I
punch in the "Alt" button for that channel.
In recent years most of my performances have been with the band
Cosmic Debris. I had signal feeds from all the other performers:
voice, flute, keyboard, bass, percussion loops, and sometimes from
two cassettes and a CD player.
Richard Zvonar, PhD
(818) 788-2202

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