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  1. #1

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    Be patient. Give it two minutes or so. It's worth it.

    MG

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Another example.

    MG

  4. #3

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    Quote Originally Posted by Marty Grass View Post
    Be patient. Give it two minutes or so. It's worth it.

    Thanks. Interesting. From the Funky Biscuit---about 45 minutes south of me.
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  5. #4

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    For what it is, he does it well. It seems to me, setting up the loop, you have to play it perfectly, in time, no clams- or you'll be haunted by it over & over!

    I've been tempted by one of those gadgets, as a practice tool, anyway. Listening to loopers in performance, I've heard them used tastefully (and sparingly) by singers who were solo acts. Like a rhythm machine, though, they are really tedious after a few minutes, which is how I found this guys playing. And it was really weird watching him switch guitars at 5:58, with the "music" continuing to play.

  6. #5

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    Johnny A is a great guitar player who has a knack for arranging 60s pop gems into chord melodies. He is a master of all these electronic enhancements, like looping etc, but he doesn't need 'em to sound great. I heard him this Spring randomly when I briefly stopped in to the NE amp show five mins before his set. It was ear-splitting loud but a true virtuoso display. All in all though, I dig his work with a trio of live musicians best.

  7. #6
    It's impressive how he balances all the sounds, effects and levels he uses to create his soundscapes. I've always found this more difficult than managing the timing of the loop, which isn't really that difficult to get if your timing is decent and you practice with the looper a bit.

    I like loopers, but usually play simpler stuff, acoustic preferably. I think I might prepare a looper only solo project for this winter, something like this I did some time ago..


  8. #7

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    Love that sound!
    MG

  9. #8

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    I'll see your Johnny A, and raise you a Frisell.



    That said, I've always thought that the Johnny A is one of the coolest signature guitars that the big G ever put out.
    Jay

    'boobadoobadoobaooababop!'

  10. #9

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    Tell you who else is brilliant with a looper, even tho she may not fit into the people on this forum's "cup-o-tea": KT Tunstall



  11. #10

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  12. #11

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    When talking about loopers it’s hard to not mention Frisell again.

    Have I found it yet? I said that but I didn’t knew it. Did I knew that I had found it yet? No, it wasn’t what I was looking for. Nevermind. Ok.

    -Pataphysical monologue based on Cartesian theory

  13. #12

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    Gilad Hekselman is also a master of loopers:

    Have I found it yet? I said that but I didn’t knew it. Did I knew that I had found it yet? No, it wasn’t what I was looking for. Nevermind. Ok.

    -Pataphysical monologue based on Cartesian theory

  14. #13

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    And I will say: Frisell once again...
    all mentioned above do it with taste and skill but when Bill does it he handles it in a very special way...
    somehow only with Bill i do not feel it is just a technical equipment to compensate fro and 'absent player' but it sounds really like a part of his guitar... it is so much mixed in the musical texture that mostly I do not feel that there is something looped...
    I

  15. #14

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    I'm a big Frisell fan. He looks like he works at making music, that it doesn't flow easily. He leaves a piece of himself in each of his performances.


    Quote Originally Posted by Jehu View Post
    I'll see your Johnny A, and raise you a Frisell.



    That said, I've always thought that the Johnny A is one of the coolest signature guitars that the big G ever put out.
    MG

  16. #15

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    Bill is the master of musical pedal board

    Check what's going on at 41:50 and the solution at 42:25



  17. #16

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    One good loop deserves another:



    I've seen Andrew Bird live, as well as Tash Sultana. They are both incredible and experts at looping

    Tash gets special marks for playing a Tele, and Andrew Bird for his ES-135.
    “Without music, life would be a mistake”--Friedrich Nietzsche

    Current lineup: Gibson ES-135 ('02), Peerless Sunset, Harmony Brilliant Cutaway ('64), Godin 5th Avenue, Alvarez AC60 A/E classical, Kay K37 ('56), Fender Squier VM Jazz bass, several ukes. Amps: Fishman Artist, Fender SCXD, Pignose 7-100.

  18. #17

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    Nels Cline is someone I associate with looping. Here's a video of him explaining how his vintage EH 16 Second Looper works. This was the same looper that Bill Frisell used before moving on to the Line6 loopers. Nels does a great job explaining.

  19. #18

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    I've always been enamored with folks who use looping in a more spontaneous, "free" manner that allows for hazard as well as a manner of improvising that treats the looping unit itself like an additional instrument. I feel like Frisell's practices reflect that idea pretty strongly - here's a classic example from '93 where he's using a Digitech PDS8000 Delay's infinite function to achieve a sort of "splice" looping that allows for speed/pitch adjustments:


    Frisell introduced those techniques via an Electro Harmonix 16-Second Digital Delay to Nels Cline in 1986 (when they toured together with Julius Hemphill) - Nels has taken that process to its logical limit and thoroughly integrated it into his vocabulary. . .to the point that he regularly jokes he "can't play without it". This clip shows him employing that sound on a funky, electric-Miles type of groove:


    Inspired by people like Terry Riley, David Torn has been doing similar things with rack-mounted, Lexicon PCM delay units for decades (in addition to exploring glitchy, splice-based units more recently):


    When it comes to looping, it's a wide-open world out there!