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Ambiloop Real Time Ambience Looping Software
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jsampson



Joined: Aug 03, 2003
Posts: 22
Location: Massachusetts

PostPosted: Sun Feb 15, 2004 11:49 am    Post subject: Reply with quote  Mark this post and the followings unread

Ah, a slew of original outbursts, and that's it? Then allow me to throw some pennies at the subject.

I downloaded Ambiloop last year and promptly forgot about it without ever trying it . I've just uncovered that download and -- surprise! -- it's the same version as available last year, 1.40, and it's still advertised as "new". And, pleasantly, it's still free. It doesn't seem to be a high-priority project for the developer, tho' -- the file dates are September 2002.

I've been using a Line 6 Delay Modeler for about 18 months, specifically for its looping capability (I'm primarily a vocalist). I like it, but it's hard to sync in real-time with something that can be set digitally -- like my Embracing the Glass partner's DOD 12 (I'm pretty sure I have the model number correct). I added a Rev 1 Boomerang last fall and love the flexibility using the two of them together gives me. (I haven't used them in tandem yet, but it's on my agenda. Instead I've taken the opportunity to start working with two microphone signal paths.)

More recently, I acquired a Boss RC-20, but I haven't gotten my head around using it live. A lot of what I do live is improvised and I was (am) looking forward to having three looping devices on hand. I may end up pre-storing loops instead -- at least for the time being.

Sean (my EtG partner) has talked about getting a HeadRush, but it's looking like he'll be using his Powerbook for that instead.

I agree with the general comments about boring loops -- it's entirely up to the performer to create something of interest. And I'll push it slightly further than it's gone by pointing out that too many drum machine tracks are way too static, and too many synth sounds are the packaged patches, and too many melodies are whatever's popular at the time, and too many people create music that has no/little imagination applied to it. And I add that blanket statements about the use of technology are often the equivalent of dangerous ground/thin ice.

>I often use reverb inside efx patches. very effective and it does not sound like reverb

Now that's something I hadn't thought of -- cool idea.

Dave: have you worked with Ambiloop yet? Your stated method of using loops live is essentially what I do -- have you had a chance to work that way?

Greg: Is there somewhere online where Mike Victor has posted comments about Ambiloop? (I don't frequent Loopers Delight, but I know I "should". It's an illness as I don't manage to frequent anywhere.)

Jeff
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egw



Joined: Feb 01, 2003
Posts: 1511
Location: Asheville NC
G2 patch files: 8

PostPosted: Sun Feb 15, 2004 1:45 pm    Post subject: Reply with quote  Mark this post and the followings unread

Hi Jeff
I don't think Mike has posted any comments about it.
But I will send you his email address so you can ask him.
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djfoxyfox
Janitor
Janitor


Joined: Feb 05, 2003
Posts: 1058
Location: Nazareth, Pennsylvania, USA
Audio files: 1
G2 patch files: 1

PostPosted: Fri Feb 20, 2004 8:25 pm    Post subject: Reply with quote  Mark this post and the followings unread

egw wrote:
Another way to think of it,
what is the smallest number that is an integer multiple of all three.
Thats when all the patterns will be starting again at the beginning.
Least Common Multiple. Something we all learned in grade school. Well, we were exposed to it at any rate... Wink

I seem to recall downloading Ambiloop after Howard showed it to me. But I never played around with it. Meanwhile, I've been using the Akai Headrush for years and bought a Boss RC-20 as a birthday present to myself in January.

One thing that I think some people forget is that juxtaposition and contrast in music can mean more than playing at different tempos, in different keys, in different registers, with different timbres. It can also include static and dynamic events, too. Plus, it's the juxtaposition of a static loop against live playing that can lead to exciting music. If you focus on the static layer, you'll get bored quickly. But if you concentrate on the dynamic layers juxtaposed against the static layer, you'll hear some exciting things happening.

Cheers,

_________________
Bill Fox------------------|\-------------
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