50 second delay (echo?)
Gianni Betulla
I am asking for suggestions on how I can have the sound of a live
instrument delayed 50 seconds.
The instrument plays the first section (50 seconds) then can play
along with the "echo".
In other words I seek a canon with the entry at 50 seconds.
Most software delays I have access to, have a 10 second limit.
Any suggestions?
Thanks
Vits
"Gianni Betulla" <gbet...@hotmail.com> wrote in message
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Reel to reel machine with a big ass tape loop?
Vits
Tim Perry
"Vits" <vi...@comcast.net> wrote in message
news:w9qJb.728061$Tr4.1881683@attbi_s03...
Ricky W. Hunt
> instrument delayed 50 seconds.
>
Try Abelton's Live. It's made for performing live with loops I think.
ScotFraser
> instrument delayed 50 seconds.
> >>
The Oberheim Echoplex, not the old Maestro tape delay, the rackmount digital
delay. It provides several minutes of delay, with realtime overdubbing.
Also, the Line 6 Delay Modeler has a mode that provides an very long delay,
although I'd have to look through a catalog to see if it does 50 seconds.
Scott Fraser
Another Mike
boomerang phrase sampler - http://www.boomerangmusic.com/
Willie K.Yee, M.D.
Boss RC-20 Loop Station
Willie K. Yee, M.D. http://users.bestweb.net/~wkyee
Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com
Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org
Gianni Betulla
They are really appreciated
Gianni
Mike Rivers
> I am asking for suggestions on how I can have the sound of a live
> instrument delayed 50 seconds.
> Most software delays I have access to, have a 10 second limit.
When it comes to delay-and-playback that long, you're no longer
talking about an effect, you're talking about a recorder. To do
something like this in software would take a whole lot of memory, so
I'd suggest looking at dedicated hardware.
I know that there are gadgets that guitar players use which do this,
but I think that 50 seconds worth of storage is stretching it even for
guitar players (many of whom can't play for fifty seconds without
making a mistake <g>). You might look at Roland's phrase samplers.
They might be able to handle what you want.
--
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lots of IP addresses are blocked from this system. If
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Ty Ford
One sampler, one cannonfire, one button (or MIDI), push every 50 seconds.
Regards,
Ty Ford
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Please remove it if you want to email me directly.
For Ty Ford V/O demos, audio services and equipment reviews,
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SOLO
>Line 6 Delay Modeler
Looks like 14 seconds max.
Gianni Betulla
>
>One sampler, one cannonfire, one button (or MIDI), push every 50 seconds.
>
>Regards,
>
>Ty Ford
Hi,
I am not familiar with "cannonfire". Please explain.
I have an Akai S2000 with 32 megs. (It should be able to record over 6
minutes in mono)
thanks
Gianni Betulla
50 seconds of mono CD audio is less than 5 megs.
The tape loop is the beast analogy I can think of. No matter what is
played and when, 50 seconds later it gets repeated.
The problem using a sampler is the lack of overlap and the necessity
to trigger the beginning and the end of the loop.
Thanks
ScotFraser
The Polar mode within Digital Performer is a looper, limited only by available
RAM. With memory so cheap, DP on any laptop should give you several hours of
delay.
Scott Fraser
AudioGaff
An Eventide DSP4500 or a GTR4000/DSP4000 with a sampler
option lets use the sample memory for delay memory. 87-seconds
mono. 43-seconds stereo and with the big sampler option in any of
the DSP4000 series or as in the DSP7500/Orville/H8000 you get
174-seconds mono and 87-seconds stereo. On the newer units you
can combine other efrects as well as use the sampler memory at the
same time.
--
AudioGaff
"Gianni Betulla" <gbet...@hotmail.com> wrote in message
news:cl6cvvke77q9ekgav...@4ax.com...
>
initialsBB
> instrument delayed 50 seconds.
If you or someone you know has some basic programming skillls you can
do something like this very easily with a program like Supercollider,
PD, Max/MSP, and maybe Csound.
Mike Rivers
> Most PCs now have 512 megs.
> 50 seconds of mono CD audio is less than 5 megs.
So, do you have a PC program to recommend?
> The tape loop is the beast analogy I can think of. No matter what is
> played and when, 50 seconds later it gets repeated.
> The problem using a sampler is the lack of overlap and the necessity
> to trigger the beginning and the end of the loop.
Some samplers make finding beginning-to-end splice points practically
automatic, but those that do don't usually have that long a sample
time.
I think you need a Les Paulverizer. Les Paul performed in the '80's with
a stage rig which I think was actually a multitrack recorder back stage
controlled by a switchbox on his guitar (but which could have just been
a mono recorder with prepared tracks) where he demonstrated overdubbing
multiple parts, and ended up playing a tune with all the backing that he
had just recorded. He's a great showman and could pull it off even if he
was faking it all.
--
I'm really Mike Rivers (mri...@d-and-d.com)
WillStG
An "Echoplex".
Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits
Torsten Matthiessen
torsten
Gianni Betulla <gbet...@hotmail.com> skrev i en
nyhedsmeddelelse:cl6cvvke77q9ekgav...@4ax.com...
Paul C. Weber
Gianni,
having done some guitar loop stuff, here's my advice:
1) Gibson Echoplex reissue with pedalboard... fill up the memory to
the max and you get 100 seconds (mono!). Gave my unit away because it
was quite noisy, but the newer version may work fine
2) TC2290 with sampling memory... I remember that one fingerstyle
guitarist used to have a 64 second delay available
3) the Line6 Delay Modeler won't do 50 seconds, the Jam Man (lexicon)
can only do 32 seconds maximum
4) Remember that keeping in time for 50 seconds is quite a difficult
affair - so you better practice a great deal if you expect to bring
this arrangement live on stage! I've only seen two people manage to
pull this off... Robert Fripp (the guitarsit) as well as an awesome NY
drummer that played with jazz pianist Uri Caine 2 years ago (forgot
his name, sorry)
G'luck!!
Paul
ScotFraser
affair - so you better practice a great deal if you expect to bring
this arrangement live on stage! I've only seen two people manage to
pull this off... Robert Fripp >>
The average delay involved in Fripp's dual ReVox tape delay set up was around 4
seconds. It could have been anything he wanted, but he chose that interval for
its musicality.
Scott Fraser
Inter Media
Gianni Betulla <gbet...@hotmail.com> wrote:
> Most software delays I have access to, have a 10 second limit.
So, stack 5 delay plugins and you have your 50 sec delay.
Branislav
Fletcher
"Inter Media" <ime...@bitsyu.net> wrote in message
news:10732223...@proxy0.bitsyu.net...
>
> Gianni Betulla <gbet...@hotmail.com> wrote:
>
> > Most software delays I have access to, have a 10 second limit.
>
> So, stack 5 delay plugins and you have your 50 sec delay.
>
Thank you very much for playing... Looks like we have a winner...
--
Fletcher
Mercenary Audio
TEL: 508-543-0069
FAX: 508-543-9670
http://www.mercenary.com
"this is not a problem"
Doug
looping, 16 bit, 44.1 khz........It's around $300.00 give or take. The
Tc Electronics 2290 or the Echoplex are the cat's meow....but the
$$$$. Ouch! Maybe after you've outgrown the Line 6.
Paul C. Weber
I wasn't really referring to his "revox period"... I actually took
part in a Guitar Craft course and one of his favourite raves was about
developing your "internal metronome". To demonstrate this, he took all
35 participants, divided us in 5 groups, each being a "bar" playing in
7/8. Starting from the beginning of the line, each of us was supposed
to play his eight note (any note whatsoever) in sequence on *the right
beat*. Needless to say, the group never got beyond the first 10
notes... and we're talking about real pro musos (teachers, band
players, guitar aficionados) who taken singularly could really play
bigtime. Which brings us back to the fact that keeping time regularly
for 50 seconds is damn hard and will take you years of excercise...
My 2 seconds' worth...
Paul
Buster Mudd
>
> 1) Gibson Echoplex reissue with pedalboard... fill up the memory to
> the max and you get 100 seconds (mono!). Gave my unit away because it
> was quite noisy, but the newer version may work fine
>
As the happy owner of an Oberheim Echoplex Digital Pro...this is the
pre-Gibson version, but the only thing that changed was the logo...I
can assure you that noise is not an issue so long as gain staging is
set up correctly. Also, with maximum memory you get 193 seconds. (And
they're all only mono, for stereo you need to buy two units!)
>
> 4) Remember that keeping in time for 50 seconds is quite a difficult
> affair - so you better practice a great deal if you expect to bring
> this arrangement live on stage!
Keeping time for 2 bars is quite difficult for a lot of musicians, but
that's a subject for another post!
I'm always surpised by those musicians whose only concept of "looping"
in music is based on METRIC loops. One of the most rewarding aspects
of 50+ seconds of loop delay (or for that matter, anything more than
10 seconds...I've been using an old Electro-Harmonix 16-second delay
for years) is the UNPREDICTABLILITY of the loop length. It stops being
a rigid Band-In-A-Box and is able to become a separate performer
capable of provoking, cajoling, or steering your performance in
deliciously aleatoric ways.
Plus, if you wanted perfectly metric loops you could lock the EDP to
incoming MIDI clock. My vote goes to the Gibson/Oberheim. Got mine for
under $600 on ebay.
Zomoniac
60.
Zo
Paul C. Weber
>
> >
> > 4) Remember that keeping in time for 50 seconds is quite a difficult
> > affair - so you better practice a great deal if you expect to bring
> > this arrangement live on stage!
>
> Keeping time for 2 bars is quite difficult for a lot of musicians, but
> that's a subject for another post!
>
> I'm always surpised by those musicians whose only concept of "looping"
> in music is based on METRIC loops. One of the most rewarding aspects
> of 50+ seconds of loop delay (or for that matter, anything more than
> 10 seconds...I've been using an old Electro-Harmonix 16-second delay
> for years) is the UNPREDICTABLILITY of the loop length. It stops being
> a rigid Band-In-A-Box and is able to become a separate performer
> capable of provoking, cajoling, or steering your performance in
> deliciously aleatoric ways.
>
> Plus, if you wanted perfectly metric loops you could lock the EDP to
> incoming MIDI clock. My vote goes to the Gibson/Oberheim. Got mine for
> under $600 on ebay.
If you read the original post, the guy is trying to do a "canon", a
melodic phrase which is both melodically as well as rythmically
related. Hence my comment on managing to keep strict time for 50
seconds.
As far as the beauty inherent in the randomness of looped material, I
quite agree with your post... having been down that stream for some
time... :)
See ya,
Paul
Buster Mudd
> Also, with maximum memory you get 193 seconds.
Oops, make that 198 seconds. I think my LED display is on the fritz!