Looping live, professionalism, etc...

[Andre LaFosse <altruist@altruistmusic.com>]

Let me tiptoe into the fray and offer a couple of ideas...

In my opinion, the most important things to consider here are:

-- What am I trying to do?
-- What is the best way to accomplish that?

All of the peripheral issues that have sprung up from this thread, with
regards to payment, professionalism vs. amaturism, reputation, and so
forth, are worth mulling over, but I actually don't think they have that
much to do with the core issue.  

As far as I can see it, that issue (and the answer to the two questions
posed above) is: 

-- A guy wants to become more proficient at looping in a live context.  
-- Just about every single reply to that question has recommended doing
gigs in order to obtain that end, preferably of the low-key variety so
that the 'research and development' phase can be as low-key and
anxiety-free as possible.

That being the case, I honestly don't think the issue of anyone's
particular background is all that relevant.  What IS relevant is that
specific person finding an approach that will allow them to improve in
the areas they're looking at.  

So, Steve Sandburg's resume is very impressive, but he himself has
professed anxiety about using looping in a live context.  One good
solution to that, as recommended by many folks here, is to get more
practice doing it live.  

Whether that happens at a coffeehouse, a loft space, or the Knitting
Factory is really beside the point, I think, as is whether he needs to
make a demo or can book a gig strictly on the strength of his
reputation.  The principle is basically the same, and that principle is:
people who have done a significant amount of loop gigs recommend doing a
bunch of low-pressure gigs in order to better integrate that technology
into one's natural performance routine.

I honestly think Steve L's advice has the same fundamental merit
regardless of who it's being offered to, especially since Mr. Lawson was
himself a pro with an impressive CV prior to getting into looping, and
has more solo looping gigs under his belt than most people you're likely
to run into.  I didn't see anything demeaning or disrespectful in his
advice, or that of anyone else here, and I certainly hope it isn't
misconstrued in that way.

Learning how to coordinate the mechanics of whatever looping hardware
and/or processing gear you're using really is a whole technique and
skill in itself, especially if you're trying to integrate all of those
things is a seamless, fluid, real-time manner.  It is much like learning
a new instrument.  Or, from a different point of view, think of it as
the looping equivalent of Sonny Rollins practicing on the Brooklyn
Bridge.  

Anyway, enough from me.  Best wishes to everyone...

--Andre LaFosse
http://www.altruistmusic.com