My Looping Adventure, Part 2 (or, How I Learned to Stop Worrying and Love Stage Fright)by Tim Mungenast
The day before the show, I realized I'd forgotten strings, or perhaps I had assumed they'd be easily obtained when I arrived in town. Local amp builder Jule Potter suggested The Starving Musician (starvingmusician.com), and indeed they were very good and helpful people. The fact that they were admirers of the show's organizer was a plus.
Well, the day of the show finally came, and soon would be The Great Reckoning, wherein I'd either blow people away with my brilliance or open a great big can of Suck. Normally I do NOT allow inner demons to psych me out like this--they are hogtied and gagged pretty much continuously--but as I mentioned before, this was my return to the field of live looping, and I'd been warmly invited to this festival thousands of miles away to hopefully excel at it after doing next to nothing with it for over 10 years.
But it was invigorating, aside from the raw fear, to start saying yes to things outside my comfort zone, to play a type of music that I don't usually get to play in my psych/jam power trio Timworld, to use some wacky pedals that I don't usually find a use for in our rock shows, AND, most importantly, to bust out some of those extended techniques I wrote about in my older Tonefrenzy blogs.
Yes, I played with a chopstick, I bowed with a piece of electrical conduit, and used a technique that I think I only share with one other person (the classical god Stevan Pasero), wherein strings are crossed to make a sort of organic ring modulator sound. My trusty old German volume pedal, the Schaller Fusschweller, helped me get the most out of these techniques. And then I just went stone batsh*t crazy with my ancient Boss pitch-shifting delays.
It was about as much fun as I'd ever had with my clothes on, as well as a genuine honor. Looping is a hoot, but don't let me have all the fun: get started!
(Photos copyright 2012 by George Wiltshire: firstname.lastname@example.org)
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