humming with EDP Loop Expansion

[<dennis@mail.worldserver.com>]

Two topics, here, somewhat related...

1) As I demo-ed at Loopstock oh-three, I have some Kyma examples that
seamless move loops to and from the EDP to the Kyma system.  It's so
seamless that you can't tell when it has been moved to the Kyma system.  
Not
a pop, click, or level change.

I've expanded on the examples to a whole series of "EDP Loop Expanders" 
with
various properties.  I call these Loop Expanders because it's as if you're
expanding the number of available loops on the EDP.

The basic idea is to use the EDP as a front-end looper.  You create your
loop using all the familiar EDP features such as Insert, Multiply, etc.
Next you tap a MIDI key (or footswitch) and the current EDP loop is
"captured" into the Kyma.  This frees up your EDP to create another loop,
which your can subsequently capture, etc.

Using a "Capybara Lite" (the smallest member of the Kyma family), you can
capture a total of 10 simultaneously playing loops, so it's like having 10
EDPs (except that you can infinitely vary the playback rate and do other
Kyma-ish things).  These 10 loops are unsynchronized but I have other Loop
Expanders which maintain synchronization.  The synchronized Loop Expanders
include a Kyma "Master Looper" to which all the loops (including those
created on the EDP) are synchronized.

I also have some "bi-directional Loop Expanders" that permit you to
"release" a captured loop back to the EDP where you can mutilate it however
you like (including recapturing it).

All in all, I've been having big fun with them.  (You are in a maze with 
ten
EDPs, all alike...)


2) So as part of my tests, I've been creating loops by humming. I find it
astonishingly cool sounding (but then I'm easily amused).  I create up to
ten loops where I'm humming the same note.  Or actually, approximately the
same note.  And that's where the coolness comes in.  Since the loops (in
this example anyway) are unsynchronized, their lengths are all different.
And my humming varies slightly in pitch.  So you hear a really cool, thick,
organic texture that is constantly varying and never repeating as the
hummings phase in and out.

I like it best when I create two loops of humming an octave down and two
loops of an octave up (and six loop of unison in the middle).  It does
indeed work best with unsynchronized loops.

What surprises me the most is that simple humming can create such a cool
texture.

Dennis Leas
-----------
dennis@mail.worldserver.com