In the last ten years, hard-disk recording and editing techniques have revolutionized the way music is produced. These capabilities go far beyond the simple audio recording and mixing of a musical performance, to the extent that they now have become an integral part of the recording and editing process. One of the most obvious manifestations of this is the use of audio loops in music production. Although we’ve explored the basics of editing and using loops here, their use goes far beyond simply spicing up an arrangement. Programs such as Acid, Live, and now Apple’s Soundtrack enable producers to construct entire productions from loops.
What are the benefits of using loops and what are the "undesirable" side effects?
In your response consider the following:
* Does the use of loops add to the musicality of a production?
* To what extend is interaction between musicians needed to create a compelling musical production?
* What are the musical considerations in using loops? Melody? Rhythm? Harmony?
My first sampler was the Roland S-50 sampling workstation. It's a dinosaur by today's standards, but it taught me a lot about sound design and loop contruction. It plugged into a TV via an RCA cable so you could see the sample as you worked with it.
Samplers like this one and the AKAI really helped define the sound of the late 80s and early 90s. I still drag that keyboard out every now and then just to make sure it works and to keep my old floppy discs from decaying to the point of being unusable.
Because I had the experience with actual samplers, I feel like I have an advantage when I work with sample editors like the one found in Logic. The layout makes sense and it seems very intuitive to me. It is so much easier to work in Logic and it is capable of so much more than was available in the 80s.
I enjoy working with loops as long as they are extensions of the musician, and not a replacement. I cherish the cats I play music with, and I don't think anyone can be replaced by machines.
My colleague, Shueh-li Ong, is an expert at what she calls "extended synthesizer techniques"; one of these techniques is the use of loops being triggered as part of a live performance set-up. Visit http://www.electricmuse.com/extkbtech_thesis_08.htm to read more about her concept.
One undesireable side effect of using loops may be that it may cause young musicians to become lazy performers, writers, and producers. I liken it to the use of Photoshop and In Design. These are great tools, but they are no substitute for learning the rudiments of drawing and photo composition. Using loops may help us produce cool music, but there is no substitute for learning theory, harmony, orchestration, arranging, etc. The importance of education, talent, and experience can not be underestimated, replaced, or bought with money.
There are no short cuts.
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2 comments:
I’d like to go off on a little tangent on this subject. A loop could be defined as repeated motif. Aha you say....
John has addressed the repercussions of using “motifs” straight from the box. Anything used straight from the box in a creative activity can be cause for concern when “creativity’ is not a part of the exercise. “Learning” is a complex subject. So is apathy.
On the positive front, many great masterpieces have be born out of the repetition of themes. Philip Glass is an exponent of minimalism, based on the systematic repetition of a motif. I have been guilty of such activity : - ) Repeated themes glue a song by becoming it signature.
Consider this; putty in a clay-mation expert’s hand can become wonderful pieces of art. In the hands of the rest of us, just putty : -)
John has again addressed the idea of the maestro and his tools in the many posts he has made. I believe that those who know how to “play” will win over those who just “play”.
With that said, I offer the song from our recent CD “Xing Paths” as an example of “creativity” with/without loops. The single released late last year utilizes loops primarily for the effect.
(1) This link has ‘No Imitation’ the single with loops.
(2) This link has ‘No Imitation’ without loops from the box and appears on the CD "Xing Paths". Both tracks were aimed at different markets, hence the way there were put together.
Shueh-li Ong
Dig it!
Great example Shueh-li. There is a huge difference between the two versions of "No Imitation", and the target audience had a lot to do with the decision of how the song should be produced.
The point seems to be, in the end, we produce music for the enjoyment of the listener, and we use all the tools at our disposal to make something worth listening to.
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