This section of the site is still being developed.
In the mean time, here’s a vid and a few words
INSTRUMENTS MADE FOR LOOPING LIVE
Joining the Two Guitars Together developed naturally from wanting continuity in a live piece. Although I’d seen artists putting one instrument down to pick up another to good effect. I disliked the fact that they’d missed a progression in their loop as a result. I wanted to have all my instruments at hand for a quick switch. This is also the reason why I attached the mic to the 10 string guitar.
CHOICE OF LOOP PEDAL
I started off using a Line 6 Delay Modeller, and loved it. I now have a Boss RC 20, which I find a bit restrictive. I enjoyed being able to build very short loops, wipe them out and replace them in a split second. You can do that on a Line 6 DL4, but not on a Boss RC20. My kit has been suited for purpose see below for the last 4 years, but I’ve wanted to experiment, and feel that my looping has stagnated a bit. With so many other people using loop machines these days, it’s time to up my game. Having waited so long may be a good thing, there are so many fantastic new loop stations on the market now ! Can’t wait to start experimenting.
DESIGNING THE SET UP FOR A LIVE CONTEXT
The last 4 years have seen me using open mics to win gigs. If you’re serious about using a loop machine in an open mic, you’ve got to get the ergonomics right. 2 minutes on 2 minutes off. If you’re being polite to the audience, other performers and the person running the night, that’s what you should be aiming for. Power supplies can be a major hastle. People tend to sort those out last, but they need to be written into the design right from the beginning.
REFLEXIVITY BETWEEN STUDIO WORK AND LIVE LOOPING
More than anything, loop work has effected what I have been doing in the studio. The limitations that you have when looping live are surprisingly similar to those I’ve discovered in the studio. In the live context the limitations for me have been feedback, when using a loop microphone. Beyond a certain point it hasn’t been possible to keep adding layer upon layer of vocals. In the studio you can add as many as you want without feedback, but then I’ve started to hit boundaries, as I’ve realise that the sound has become too full or too muddy. It has been refreshing to strip back big loops to discover greater impact through simplicity. I’m excited about bringing my album out at the end of Feb 2012, whilst I’ve been inactive with loop innovation in the live context, that has not been the case with multi-layering in the studio, and I can’t wait for people to hear the results !
WATCH THIS SPACE
For more on looping watch this space and my blog. I’m hoping to up my loop game in the live context during 2012.