Using audio effects with live looping inevitably raises the question: do the effects go before the looper, or after? The Microcosm is uniquely suited to address this issue, since it can place its phrase looper either before or after its internal effects - and can change that arrangement instantly. We explore the possibilities this flexibility opens up, and investigate additional looping features like Reverse, Vari-Speed, and Auto-Feedback.
0:00 Each planet a complete society
0:16 Paint brushes vs. filters and frames
1:18 Reverse, Vari-Speed, and Auto-Feedback
1:48 Captions and length
2:10 Recording the initial loop and overdubs
3:14 Moving the effects from before the looper to after the looper
3:27 Scrolling through different algorithms and settings
3:53 Non-repetitive looping with the “Interrupt” algorithms
4:13 Overdubbing new guitar (but not new granular effects) into the loop
5:04 Returning to placing the effects before the phrase looper
6:13 Going back to putting the effects after the looper, and further Interrupt explorations
7:12 Putting the effects back in front of the looper, and “the 808 Dumbek”
8:10 Pursuing smoother sounds with the “Arp” algorithms
9:36 Temporarily soloing just the Arp effect, and getting very dense very quickly
10:02 Space in the place, and the “Tunnel” effects
10:30 Reversing the phrase looper (and the requisite Overdub dectivation therein)
10:39 Listening for Auto-Feedback at work
10:53 Leaving the “Tunnel” category and returning to the “Arp” algorithms
11:33 Reversing the phrase looper again
12:09 Soloing, and developing, the “Arp” effect
12:26 Erasing the original phrase loop and creating a new one
13:00 Temporarily closing Overdub to build the “Arp” texture without adding it into the phrase loop
13:22 Back to “Blocks”
14:50 Cat stretch cameo
15:22 Percussion ensemble journeys to Space
16:56 We interrupt this program
17:23 Conspicuous Auto-Feedback is conspicuous
17:59 Backwards phrase looping, max’ing the Time knob, and returning to “Arp”
18:33 Minimum to maximum Space
19:03 Reversing the loop and entering the “Seq” algorithms
19:33 Third conspicuous Auto-Feedback instance
20:31 Returning to “Blocks,” and comparing its rhythmic quantization to the “Seq” algorithms
21:02 Going back to “Seq” for some synth-bass indie sleaze
21:49 Making a crazy loop even crazier by returning to “Interrupt”
22:17 Auto-Feedback is back to feed automatically
22:50 Engaging Vari-Speed to go to half- and quarter-speeds
23:19 Overdubbing at lower speeds
24:00 More “Arp” action and building to a climax
26:14 Spacing out
26:46 Loop reverse, and return of the revenge of the son of conspicuous Auto-Feedback
27:42 A final signal path change to bathe the whole loop in reverb
Deep thanks to the following Patreon supporters for helping to finance this tutorial:
(in alphabetical order)
Randolf Arriola
Richard Atkinson
Steve Ball and Tiny Orchestral Moments
Dan Burke
Steven Clements
Phil Clevenger
Laurence Cramp
Hal Dean
Tony Douglas
Rejyna Douglass-Whitman
Jeff Evans
Christopher Evans
Shawn Farley
Christopher Fedak
Jason Fink
Jens-Christian Fischer
Pepe Flores
Gaetano Fontanazza
Ross Garren
Joel Gilardini
Randy Greene
Anthony Hancock
Phil Heiliger
Philipp Hirtler
Bob Holub
Fedor Indutny
Ted Killian
Zak Kramer
Todd Lainhart
Jeff Larson
Rebecca Lee
Ken Luke
Dino Meneghin
Jesse Nason
Nostradamas Band
Michael Peters
Matt Pogue
Matt Rowe
Gene Schwartz
Keith Spicknell
Darin Stewart
Chris Stromquist
Nik Tembe
Nakarin Teerapenun
Bernhard Wagner
Paul Weber
Jonathan Yandel
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11 июл 2024
