Re: the death of the loop

[mark francombe <mark@markfrancombe.com>]

What I like is using more than one loop.. cant speak for other loopers, but with EDP i just got to a differnt loop.. and one day I go back to the original loop, often the loop has moved on by then and the original seems... wel original... If you switch between loops like this working on each all the time, REPLACING rather that overdyúbing.. then you get more variation.

EDP is great at this...
Repeater is terrible at this.. shouldnt be, it IS possible to change loops after all.. but just doent seem seamless... Of course Mobius, being based on EDP is also great at this.. and Im sure all the Songster type loopers ut must be a doddle..

Maybe the answer to "kill a loop" is not to kill it, just put it aside and come back later (in the song)???

Mark

On Thu, Mar 4, 2010 at 6:19 PM, Per Boysen <perboysen@gmail.com> wrote:

On Thu, Mar 4, 2010 at 5:44 PM, Nadia Salom <nadia.salom@gmx.de> wrote:
> How does one go about killing a loop?

Fora a change, try changing the loop's audio content while it is
playing. Use a continuous pedal assigned to feedback for soft changes
and slicing to violently replace chunks of audio in the loop.

If you want to write songs, learn to write songs. Looping is
different. But in a quite beautiful way; looping doesn't demand *a
start* and *an ending*. It's more like the original idea of ambient
music; it is going on forever and you simply tune in or tune out of
the flow.

I agree with you that when picking up an ambition to "write songs" out
of true live looping sessions a lot of the magic is lost. But thinking
closer about "composing", isn't it in fact a lame-ish workaround to
synthesize the true inspiration of a good improvisation? A way to
experience an adventure without exposing yourself to the risks. A
trick to repeat a blissful moment many times.

But some folks are good at composing. How do they manage? I'd say they
are very good at simulating the inspired "first encounter experience"
in music. In order to succeed with that you will have to distance
yourself from the nice feeling of being part of the music as "music
happens to you" in order to analyse and take notes of exactly what
happens so you can repeat it and bring over a fragment of that emotion
to listeners.

Oops... this turned out a bit theoretical - I fully support the
hands-on hints Kevin just posted as well.

Greetings from Sweden

Per Boysen
www.boysen.se
www.perboysen.com

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