Delight 10-Year Reunion
30 Second Sound Clips
For Looper's Delight Members: To submit your clips, send your 30 second MP3 file to Krispen Hartung at firstname.lastname@example.org and include your name and location, description of the clip, your website URL (if available), and a direct URL to a jpg or gif of yourself (if available).
Individual Sound Clips and Descriptions
Tenor sax (Otto Link 9-star) analogically into FireworX digitally into Mobius/Laptop (Mobius standalone version, no VST plug-ins, basically only looping). Creating three loops to jump between while melody phrasing. Typically II: Tonica, Tonica, Subdominant, Dominant. Subdominant, Dominant :II A lot of "add9" coloring of chord voicing.
When looping in this context it really is "backwards mixing" since all the stuff you traditionally do when finally mixing your tracks - like EQ'ing, coloring with effects etc to blend them - all of this I do directly as I play, sort of "as part of the instrument". The tool for that is some 25 patches in the FireworX that I have created for layering stuff in a way that they should all sound ok together, as a summed mix of loops/layers. As an example I have very few sounds with a "full timbre", simply because then I would not be able to loop in the essence of layering sound. The colliding frequencies would make the musical counter lines hard to follow.
Another concept for "instant orchestration" in looping would be to bring dozens of instruments and swap between them while layering loops. But instead I have chosen to use fewer instruments and work on the sound for alternative expression.
As some of you may know, I did not do any written compositions ever since the turn of the century...so this is, as all my stuff since then, more or less improvised (more or less means: for some of the stuff, I used some patches of a groove box, but not here, and not anymore).
It's from part ii of my Ninjam session with Tony K, of which Tony has already posted the first part here: http://www.thinginajar.com/bigtony/RainerAndTony.mp3
So why didn't he post the second part as well? Sometime in the mid of the performance, I experienced some problems with tracks dropping out and returning. This is usually a result of high CPU load or network load on either end. So I went and configured around a little on my side, looking to get rid of the problem.
When I did, I decided to do some a capella stuff (I guess this is even the first recorded a capella performance of mine). So what can you do with vocals, MadShifta, OhmBoyz Delay and Mobius? See my clip.
This is a loop cut
out from about ten minutes of performance, after which I started to wonder
why Tony didn't play anything. Turned out that I had deactivated his stream
on my side during my troubleshooting.
Jon Wagner - Chapel
Hill - North Carolina - USA
Mine is likely the simplest recording in this collection, and I feel a little silly even having it included. This was my very first day of successful live-looping. I ran my Takamine acoustic guitar and old BOSS drum machine (played with my fingers, not sequenced) through an Alesis Studio24 mixer directly into the line-in on my laptop's internal sound card and looped using basic overdub on one track in Mobius. That's about as simple as it gets!
Steve Burnett -
Raleigh - North Carolina - USA
Mine was just an imporovvised
recording with a DD20 loop and some sparse piano notes.
My little ditty is
actually a tiny excerpt from an outtake that didn't make the final cut
on my CD.
Anywho it's jut me
an my trusty Gibson '77 RD Artist, fairly clean-toned, with Vortex, Sustainiac
Electric guitar played
live into a Digitech IPS33b with a pitch shifter + delay patch, then into
a Vortex, then (using the mixer) back into the pitch shifter, ad infinitum.
The LD Chorus (Michael
The voices come from an online interactive text-to-speech software demo from AT&T (http://www.research.att.com/~ttsweb/tts/demo.php) echoes and arrangement made in Adobe Audition
Tim Nelson - Portland
- Maine - USA
My LD Birthday tune
('Decayed') is an exerpt from one of those gigs. I have no idea what the
signal path was, but I know it was played on an old, beat-up Washburn
Monterey acoustic to which I added active electronics. The loopers were
a Boss RC-20 (old version), an Akai Headrush (old version) and a Line6
DL-4, and they were hooked up to a bizarre combination of a/b and a/b/c
boxes and an AR.Acoustic amp, most likely in cahoots with a DigiVerb,
either a Boss DD3
"30 sec from Improv in Dm #37"
My submission is from one in a series of meditations done either solo or with other players, most of whom have no experience looping other then what I impose on them. Some pieces are based on pre-programmed triggered MIDI loops from either a workstation keyboard (K2000) or Ableton Live with little on no live looping.
Others, like this one, are fully spontaneous. In this instance, I developed a rhythmic 'drone' pad on the Repeater using voice and hand sounds and several passes of processed guitar (VG-88 v.2). The other players ad-libbed over this bed. My function was to establish and maintain a musical environment and leave room for them to dialogue. Open mics captured the room ambience which can be heard in the background. The result can be surprising; from fully chaotic to unexpectedly splendid.
The entire piece developed
slowly over 11 minutes; all in all, rather short. I hope you enjoy it.
I record a lot of my live improvisational shows and for the last seven years I have only improvised live and not done any compositions (though I revisit sets of instruments and will have set scales/modes/rags/maqams and rhythms that I'm in love with for a while).
Frequently, I'll go back to those shows and hunt down loops that I do want to use in my abstract electronica CDs (I have a tendency to alternate composed, computer driven abstract electronica recordings with live looping recordings).
I did the same with this particular piece, throwing it into ACID to manipulate the loops I 'sampled' from my self.
Anyway, this particular
track was from a one off theme show that I did (I love to do theme oriented
shows just once or twice) called 'Weird Kalimba" where, for the first
time since the turn of the millennium I used only traditional West African,
North African and Middleeastern instruments and did a very avant garde
On this piece I used just West African rattles (several different kinds from bamboo rattles to seed pod gourds to even a South African set of rattles made out of the husks ofMoth chrysalises).
I then used the Echoplex with INERT equaling SUBSTITUTE (one of my favorite techniques) and rounded to 8th notes so that singing long tones in a particular scale the EDP would grab individual 8th note values of long tones I was singing, randomly.
I love to play this game randomly because the piece starts sound really weird and without formand the more you play the game, the more all 8 notes (or however many you choose) will fill up.
By singing in falsetto, I can effect a loop that sounds as if the Pygmies of the Ituri Forest had accidentally drunk some on LSD spiked punch.
The 'melody' is just me using a couple of different extended vocal techniques (warble singing and trill singing) along with a couple of interesting technique where 1) I pound rhythmically on my chest with my fist which causes very quick comb filtering effects to change the timbre of my voice as I also manipulate the overtones of my falsetto notes and 2) where is grab the loose skin just above my adams apple and shake it rhythmical which causes a very interesting modulation effect on the voice.
Both of these techniques
look really strange (as it does when I play my Filipino nose flute or
manipulate the overtonesof my horribly phallic looking toy voice changer)
and the audience will sometimes laugh when I do this but I think it produces
really cool vocal effects.
Daryl Shawn - Oaxaca
I'm lucky in that
30 seconds is the normal length of the loops I make, since they're 30-second
cassettes. I did four tracks of improv nylon-string direct through a Studio
Projects tube mic pre, into a Yamaha four-track. Two tracks are clean,
two are fuzz (Effector13 TBD). I did a lot of pitch-shifting with the
speed control, which shoots the tracks up an octave with a bit of a "whoosh"
which I'm partial to. Overall, the low fidelity stands out compared to
a lot of the other tracks, but that's part of what I like about the medium.
Ingo A. - Stuttgart
- Southern Germany
Kevin Cheli- Colando
My loop struck me
as a fine processional into space or something like that. A quick rhythm
track from a Boss DR-660 drum machine and then guitar through a couple
of the pitch shifters in a Digitech 2120 followed by Korg AM8000 most
an acoustic steel string guitar into a mackie CFX1202 with stereo EDPs
in its auxs and added a bit of reverb. set the echoplex to more loops=4
Switch Quant=on played hammered bass notes in loop1, sus-overdubed harmonics
playing simultaneously a bass figure with my palm on the guitar in loop2,
multiplied a finger picking phrase in loop3, drummed on the acousitc and
played a minimal melody in loop4. I then improvised some vocals on top
through a boss dd-3 and EQ,and simply alternated between loops with a
FCB1010 foot controller while singing.
- Portland - Oregon - USA
reversed at 15 second halfway point in Repeater. Uses tremolo feature
on Mo-FX in Repeaters inserts. Honestly I forgot what sound source I used
on this, probably VG8.---
- Wisconsin - USA
This is an ambient
piece that I chopped 30 seconds out of; the setup was guitar->toneport->gearbox->garageband
and the same with bass :) The song is based on a Spanish classical guitar
piece titled "El Noi de la Mare" that Ihave been playing incorrectly
ever since i first tryed playing it...mainly because Ihave never heard
the song before :) I thought it sounded better this way :)
Warren Sirota -
I was swimming in a pool of mercury, and when I emerged I had silver snakes instead of hair. And I shook off the snakes and revelled in the glory of sudden hairlessness, and realized this was my destiny, to wander smiling and naked through the world, reflecting.
RP Collier - Portland
- Oregon - USA
The local newspaper in my berg hosted a ringtone contest last month and wanted 30 sec. max compositions, so I put together a track using thumb piano loops.
The thumb piano is passed thru a ring mod filter but otherwise everything is simple and minimal. I put the track together as an alert chime sequence, then an urgency sequence where the rhythm is varied, and then a drone or holding sequence.
I felt it would function well as a ringtone but the 3 judges deemed it unworthy of comment. The winners and honorable mentions were all multilayer/multivoice, Winner was drum/bass/synth/sample techno electronica, the 2nd Place entry was a flute sonata.
I listened to all
the contest entries and still feel that my little ditty works successfully,
with just the right amount of "perky and quirky." But what do
I know? I suppose it might have helped if I had ever actually owned a
Stefan Tiedje &
Lutz Wernicke - Paris - France
It was pretty simple out of my perspective, Lutz played violin, I treated the Ondes Memorielles.
It is a Max patch
with a mixer like setup of 8 phrase loops of up to 90 seconds and a tap
delay (also 90 seconds) with 8 variable taps each is harmonized and could
feedback into the tap input. A really cheezy reverb would add some air.
The combination of harmonized feedback could create quite complex melodic
and harmonic structures or textures...all this is controlled with a Faderbox
from Fostex and a little Midi keyboard.
Claude Voit - Switzerland
Happy birthday Loopers-Delight mode d'emploi
Take the common "Happy
birthday to you melody" playit thru the following patch
As you play into this setup the notes are picked up by the loops and played back later at another rythmical spot (sort of phrase reshuffling).
Any sequencer can
be programmed to do this automation setup but here the edp audio out goes
thru the G2 where the panning is done. Another very specific part of this
setup is a dynamic feedback regulator (done with the G2 also) wich lowers
the EDP feedback according to the input volume. This feedback regulator
avoids the loop beeing too full after a while and dynamic
the recall of the
right EDP midi message can be facilited with my EDP MIDI Commands Spreadsheet
- Vermont - USA
um... er... i snipped 30 seconds out of an improvised solo guitar looping...uh, something or other.
i think this was done with my Frankenstrat, TC Electronics Sustainer, a Lexicon JamMan and a Vortex. waaaaaayyyyyyy stripped down for me. sounds like it was done during my "Vortex before the JamMan in the signal chain" period.
So, I was working on some software for a friend....and made some loops making squeaky lip noises. This was done in one pass using the free Pluggo Jr. Plugins, Max/MSP Runtime and my free software available here: http://jeffkaiser.com/software.html
This is a snippet from a piece called Razorwire Necklace. Most of the effect is from my Adrenalinn, the ModFX Philter and a DL4 and DD20. One of them is set on reverse delay with 100 feedback.
I did something a little out of my element here....okay, a lot out of my element! I pulled 30 seconds from a clip that I recorded very recently for Rick Walker to collaborate over, but rather than it being me on guitar (my primary instrument of 26 years), it is all vocal looping, just me on my Sure SM58 plugged into my laptop looping/effect system with Mobius. But you may not be able to tell that it is vocal only, as I was using some massive tone mangling VST effects, such as Reaktor, ring mod, octave, Cycling 74 Hipno, and a bunch of other layered effects that I can't recall. I liked the clip so much, that I think it's almost more experimental and avant-garde than my guitar material. Who knows, maybe I'll do a looping gig with just voice in the near future. The entire song was supposed to be called "Baby Zantac". Rick...you're up.
BTW, if you want to hear here the full 5 min clip of madness, you can download or listen to it here: http://www.box.net/public/86akafpxhk
Brian Good - Chesterland
- OH - USA
Processed soprano sax, Apple Sculpture, Motu MX4, Spectrasonics Atmosphere and NI Absynth, along with four instances of Augustus Loop.
A 5 second guitar loop using a fernades sustainer, echoed and duplicated, alongside a 30 second drone, duplicated and pitch shifted. A couple of VST effects , all assembled in Acid Pro.
I've been on the Looper's
Delight list off and on since 1997, this loop is from the late 1990s,
I though it was an interesting slice of time from that era.
I used a modified
1984 Steinberger GL-2 guitar (with a fixed bridge!) tuned in straight
5ths: A E B F# C# G#. This gives me nearly a five octave range from the
open A to the G# at the 24th fret.
I found an interesting old snippet recorded with guitar using the Lexicon Jamman (probably--this was about the time I sold it and bought the EDP) in summer of 2000. It melody was improvised, but counts out to 13/8 (7+5+7+7).
Then today I recorded some new source material into Sound Forge (not overdubbed, but recorded, then flown in--and some it is reversed) using a Hohner Special 20 harmonica in a new tuning devised by Magic Dick of the J. Geils Band--the tuning is called Magic Bop Band, and is a D6 arpeggio on the blow reeds and an E6 arpeggio on the draw--tuned it myself. Added a touch of reverb after I converted it to stereo.
Still nowhere as good as Claude's bit of whimsy!
Another 30 second
clip for the 10th birthday list. Two instruments - GR700 through a Roland
RSP550, and an Emu Morpheus (controlled from the GR700) through a Sony
HRMP5, looped with Augustus Loop. Recorded from Rax at 12:38 in the morning
on 16th March this year.
"In No Moderation" is based on two Chapman Stick loops recorded into my Line 6 DL-4. The effect chain was as follows:
Chapman Stick --> Vox ToneLab --> Alesis Ineko --> Aphex Punch Factory --> Effector13 TBD --> Volume Pedal --> Line 6 Liqua-Flange --> Line 6 DL-4
The first loop was
recorded as normal from the DL-4. The second was the same material, only
half-speed and reversed. Both loops were then flown into my DAW (Ableton
Live) where I applied some EQ and a little more digital processing. During
the latter half of the cut, I brought in some tinkly bits from Atmosphere,
a drum loop I'd mutated out of Stylus, and a couple of bass notes.
The numbers 91 and
27 refer to patch selections for guitar and guitar synth.these two sounds
are combined together creating a "hybrid' patch where each separate
sound responds differently when the guitar is played. you can hear the
pickups response is quicker than the synth on this piece. the guitar patch
sound, is overdriven and then modulated and harmonized by the g major.
the patch is very senitive and responds to a light touch. the guitar synth
patch is a string and bell tone combination with a slow attack, a long
sustain and a very resonant
explaination of signal
flow: electric guitar thru line 6 pro and tc electronics G major. guitar
is also equiped with roland synth pickup. stereo guitar outputs w/fx to
stereo in's of mixer and guitar synth stereo outs feed into behringer
mixer to their seperate in's. these two stereo signals combine with the
2 edp's (connected in brother sync) inputs coming from sends 1 and 2 of
the mixer. guitar patch selections and looping commands with the edp's
are programmed into a fcb1010 midi controller providing for ground control
operation with foot (or feet). mixer outputs to a crown micro tech 600
which powers 2 EV t52+ enclosures containing 1-15 and 1 horn driver and
crossover in each. Electric guitar is a white jackson soloist (early 80's)
with 3 emg active pickups. 2 single coils at front and center and a humbucker
at the bridge position.