![]() Starting at the lower speed, incredibly quick music can be created. It allows for example to record a bass line as a double speed melody and then drop it down. The half speed function is pretty easy to use, because it doubles the rhythm and changes by one octave, so there is a continuity, but still a drastic change. Musically, there are strongly different uses: The tape speed change was limited to some yowling or slow changes. Newer loopers allow precise harmonic steps, controllable by a bass pedal, for example. The older digital processors only offered half speed, but immediately. The tape speed could not be changed very quickly and usually was not accurate. Technically naturally available for the tape recorders and easy to offer for the older digital delays by changing the sample clock, but more complicated for the digitally processing loop tools. Speed changeĬhanges length of the loop and pitch at the same time. Whenever we become saturated of the loop, we should reduce Feedback and let us inspire to play something new into the loop. Its the natures way to correct inaccuracy, and (if feedback bigger than one/full) to create oscillations. Philosophically, its the amount of attachment to the past, the speed of development, the presence of the tradition,īy system theory, Feedback is present in any natural process. So this musical structure allows to be aware of much more musical figures at once than in any other structure!ĭedicated looper tools sometimes do not have this function at all, or only in steps, in certain functions. Since we heard a part louder in a earlier part, we can easier perceive it when almost faded out in the later part. Unless Feedback is closed and all replaced, theoretically all that ever was played into the loop is still there, although often inaudible. ![]() Some play a phrase over and over and let the rest of the loop fade, or let it fade while playing over it and finding a different idea that they finally overdub and such take the loop into a different direction. Its the oldest function and still the most natural way to let the loop evolve: While the old fades, there is space for new, it becomes possible to draw over the picture where desired, even if its just one note, or perfection the whole loop while its fading. Technically, this feature can be added to any delay with a volume pedal that runs from the output to a mixer at the input. In the mid positions the loop fades over any period. If fully open, it repeats infinitely (in the case of Delay Looping a technically limited amount, with increasing noise) and Its the volume of the present repetition appearing in the next repetition. This is the oldest and probably deepest and hardest to understand parameter. Once he starts playing that, its not easy to stop him, though □ Feedback Musically each overdub means to hire another musician and teach him on the spot what he has to play. Philosophically it means to choose between building a base or enjoying it, between evolvement and contemplation, between stepping and preparing for the next step. Technically, this feature can be added to any delay by connecting a volume pedal at its input (an mixing the dry signal to its output). Set to record into the loop, switched off to solo over the playing loop. Available since the tape loop phase, 1960: Overdub But we can describe families of functions and their impact on the music. Its not possible to list all functions here, they are too specific for each tool.
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